This
month, for the Reader Top Ten, I want to return to the science fiction genre,
and visit a beloved age of filmmaking: the 1970s.
In
particular, I want to know the answer to one question. What are your selections for the ten best science
fiction films of the 1970s?
Personally,
I love this decade of science fiction films, in part because of the overwhelming
schizophrenia. Half of the decade is
downer dystopian-ism, and the other half is Star Wars swashbuckling. Which trend wins out?
Send
me your lists at Muirbusiness@yahoo.com, and I will post them throughout
the week, before presenting the final tally on Sunday. I’ll accept reader lists
through Friday night.
Again,
number one choices are weighted three points, and number two choices are
weighted two points, so make your lists accordingly!
In
total honesty, I’m returning to the 1970s for two reasons. First, it’s my favorite era in terms of
science fiction film, as I suggested above.
And secondly, I happen to have a book out on the subject that I’d like
to draw your attention to.
So
-- in addition to compiling your own list -- please think about supporting my
work in print. My books are the very
things that make this blog -- and daily posting -- possible. So if you enjoy the blog and are a regular
visitor, please think about supporting the book, in either print or even cheaper e-book.
Sorry
for the hard sell, but every now and then, it’s a part of the job!
Now,
here are my choices for the top ten greatest science fiction films of the 1970s,
and my explanations for why they made the cut:''
10. No
Blade of Grass (1970)
This is an absolutely brutal and
blunt apocalypse movie of the 1970s. The film confronts what a world-wide
famine would mean to cities, families, and individuals, and descends into
bloody violence and sexual degradation.
The film periodically flashes forward -- in bloody red color -- to scenes of life getting worse and worse
for the desperate survivors. Also, to my
delight, the movie boasts absolutely no tact whatsoever. The director vividly cross-cuts
images of children starving in Asia with satisfied restaurant diners gorging
themselves on gourmet food in London. In
some ways, this film is even more hardcore than 1979’s Mad Max.
09. Star
Trek: The Motion Picture (1979)
There were a lot “computers go
crazy” movies in the 1970s, including Colossus: The Forbin Project (1970),
Westworld
(1973) and Demon Seed (1977), but Star Trek: The Motion Picture gazed
at the future of machines and imagined not only fear and domination, but the
possibility of human/machine unions.
Derided in its time as slow and derivative, the film from Robert Wise is
actually a full-throated exploration of the in-vogue theory of Singularity; of
the total joining of machine and man. This
idea plays out in not only the main plot-line, but in terms of character
arcs. Kirk is in love with a machine
(the Enterprise), Spock wants to be a machine, and then realizes that without
human emotions he would face only “emptiness,” and finally, V’Ger -- the ultimate
machine -- requires humanity to “imagine” an after-life beyond the
universe. Forget that you’re watching a Star
Trek movie here, and simply experience a “human adventure” about a
possible future where man and machine might co-mingle, to the benefit of all,
and you start to see how The Motion Picture is one of the decade’s
most forward-looking and visually spectacular films.
08. Soylent Green (1973)
This dark, despairing dystopian
effort revolves around a world in which global warming and over-population combine
to create Hell on Earth. A detective,
Thorn (Charlton Heston) becomes involved in a murder investigation that
threatens to uncover a dark secret about the Soylent Corporation. From
the opening montage -- which increases
speed and intensity until it suggests the idea of humankind spreading across
the surface of Earth like a virus -- to a touching scene of an old man
selecting death over a life in Hell, Soylent Green is visually daring, and
thematically prophetic. In many ways,
this underrated film stands as a clear noir predecessor to Blade Runner, and one –
surprisingly – of roughly equal quality.
07. Silent Running
(1972)
This landmark environmental
science fiction film about a man who kills his fellow man to save the Earth’s last
forest proposes two ideas that we assume contradict each other, but don't,
actually. These are, A: that the last forest should be saved, and the
film’s hero, Lowell (Bruce Dern) is right to save it. And B: that it is wrong for Lowell to kill his crew
mates to save the forest. Both
A and B are true, and exist side-by-side in the film. Lowell accomplishes a good...very badly, in
other words. Life is often this complex,
but movies rarely are. Douglas Trumball’s Silent Running asks viewers to countenance the story of a man commits a “good,” but at too a high a
personal and moral price to live with.
In a sense, this is one of the most moral science fiction films ever
made. Lowell Freeman tries to balance
nature, but unbalances his own life in the process…
06. Invasion of the Body
Snatchers (1978)
The 1970s remake of Invasion
of the Body Snatchers by director Philip Kaufman primarily concerns shape and form, and the myriad ways that
human beings misperceive shape and form, and thus make unwarranted assumptions
that fit pre-conceived notions about those qualities. The film itself depicts
an invasion of alien “pod people” -- essentially
sentient plants -- who secretly replace human beings while they sleep in a
vast 1970s liberal metropolis, San Francisco.
But unlike its 1950s predecessor, which was either an indictment of
communism or an indictment of McCarthyism depending on your personal Rorschach,
the remake plays meaningfully against the unmistakable backdrop of an
increasing divorce rate in the United States and the ascent of the so-called “Me Generation.” This film is witty, terrifying, and vetted
with stunning visuals. The casting of
Leonard Nimoy as an emotionless alien is a brilliant joke, and once that
creates a real tension with his familiar role as Mr. Spock.
05. The Andromeda Strain
(1971)
Mankind enters the “future age” of ascendant science in
director Robert Wise’s impressive techno-thriller The Andromeda Strain, and
the film ultimately proves that technology and scientific know-how can battle a
deadly space “bug” to a stand-still. Accordingly, Wise and his film itself -- an
adaptation of a Michael Crichton best-selling book -- seem to worship at the
feet of machinery, medicine, and science, not to-mention provide a reverent
near-religious litany of techno-talk. In
this world, ordering up a computer test is more like quoting Scripture. The film’s assessment of mankind, however,
may seem less gracious. Here, mankind’s failings get in the way of progress,
slow-down the process of stopping Andromeda, and nearly destroy the entire
world. The film’s final message,
diagrammed in a computerized “601 Error”
is that machines are ultimately only as good as their users. Serious-minded, suspenseful, and presented
with an almost kitchen-sink/documentary feel, The Andromeda Strain is
an incredibly impressive film, to this day.
04. Solaris (1972)
On the surface, the open-ended,
Russian science fiction epic Solaris concerns mankind’s reckoning
with an alien world, and its coruscating, planet wide ocean. Scrape the surface, however, and the Tarkovsky
film revolves around humanity’s total inability to meaningfully reckon with
something truly alien, something truly unlike us. Humanity’s steadfast inability to understand
something “different’ is a result of a peculiar brand of selfishness, Solaris suggests. When mankind gazes upon any object or person,
people see only echoes of themselves and their own lives, their own experiences.
Thus, human beings are intrinsically
self-centric beings. This notion is expressed in a line of dialogue in the film
which suggests “We don’t need other worlds.
We need a mirror.” So where many science fiction films concern
first contact with alien life forms, Solaris concerns, intriguingly, our through
un-readiness for such a meeting.
03. Superman: The Movie
(1978)
Although blockbuster superhero films have come and gone since Superman:
The Movie in 1978, the Richard Donner film remains the best film
of its type yet produced. This grand assertion is due in part to the
film’s layered visual symbolism, which intentionally and
methodically equates the life-time journey of Kal-El/Superman with that of a messiah,
or Christ figure. Also, the 1978 Superman speaks meaningfully about its
historical context: the Post-Watergate Age of the mid-1970s. Specifically
Superman is offered up to audiences as
a positive role model, a kind of wish-fulfillment alternative for a country
that appeared mired in partisanship, bickering, and corruption. Superman’s
promise that he would “never lie” to Lois Lane (and to us) reflects this
deep, burning national desire during the mid-1970s for a restoration of belief
and trust in our elected leaders. In terms of structure, Superman: The
Movie, is similarly unsurpassed
because of the film’s remarkable and epic three act, biographical structure,
which actually permits for intense focus on the hero rather
than the villain, an absolute rarity in a genre which has distinguished itself
largely, by spotlighting ever-kinkier, ever-more perverse antagonists.
02. Alien (1979)
I have come to believe that
Ridley Scott’s Alien (1979) better represents the “vibe” of the 1970s than
just about any other science fiction film of the decade (well, save for one…). If the crew in Alien is recognizable as truckers in space or
blue collar workers in the final frontier, then the alien is utterly unrecognizable
-- even incomprehensible -- on first reckoning. A great deal tension arises in the film from
the conflict between these two poles: of total recognition, and total lack of recognition. The alien’s
constant shifting, its universal state of flux, seems to reflect the anxieties
of a decade that witnessed three presidents in ten years, and upheavals in
Vietnam, Iran, and on the home-front. An
overwhelming fear in the 1970s was that we didn’t know what,-- or from where,
--something else was going to hit the country as it was trying to get back up
on its feet again. Would it be another
oil crisis or “shock”? Stagflation? Another political upheaval? A nuclear
reactor meltdown? Alien pitted the average
Joe -- the everyday American -- against a multi-headed hydra, a threat that was
always in transition.
01. Star Wars (1977)
I suppose this selection is a predictable one,
but the hell with it. Star
Wars is a phenomenon, and a cultural touchstone, but the important
thing is that it is also a great movie.
The tremendous joy of Star
Wars, even today, after all
the imitations and knock-offs, originates from George Lucas’s incredible
ability to ground his otherworldly “space opera” world in a reality that
is immediately recognizable to all of us. For instance,
underneath the flashy lasers and colored light sabers, or the strange aliens
and robots, the film boasts this driving, human feeling of yearning, of
almost anticipatory anxiety. Star Wars’ lead
character, Luke Skywalker (Mark Hamill) gazes up at the night sky of
Tatooine, and he wonders what awaits him. Where will he go next?
When does his life really begin? When does he finally get to grow up and chart
his own destiny? What is he supposed to believe in? Lucas grounds the
viewer in Luke’s personal “coming of age” story, yet that’s far from the only
grounding the director accomplishes here. Without explaining in
significant terms a layered or complex back-story, Lucas crafts in Star
Wars a lived-in world which nonetheless points to previous
adventures, and to a larger universe beyond the main narrative. It’s such
a big (and yet consistent…) place, in fact, that it almost can’t all fit within
the boundaries of the movie frame. Thus at times, it almost seems as if
Lucas didn’t make up his universe at all, or build it all from scratch.
Rather, it’s as though he took a camera in-hand and actually traveled to a
galaxy far, far away, filmed what he witnessed there, and brought that footage
back for the rest of us to enjoy.
My
choices for runners-up (and which might have even made the list on another day…)
are: Conquest
of the Planet of the Apes (1972), Logan’s Run (1976), Mad
Max (1979) and Stalker (1979).
Available at Amazon.com |
John, I am glad that we are back to the '70s science-fiction. Your list is brilliant including the runner-ups, excellent films. I absolutely agree with the twelve that I have seen. I will have to look into the unknown, both No Blade of Grass (1970) and Stalker(1979).
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John, I am sure that your book Science-Fiction & Fantasy Films Of The 1970s proves, like your list here, that the '70s was an awesome decade of science fiction films that are still very relevant.
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