This movie is philosophy, it is a lesson in morality. It is proof that sometimes knowledge is not achieved by forcing the fortunes of life, but by meditating. It seems it was the inspiration for "Solaris" (1972) (more the movie than the book) and "2001: A Space Odyssey" (1968). However, even if it has the ingredients to be a 10 movie, I have noticed the love factor that it is in shoehorn. I feel like he's forced and overactive. I think it is the only thing that could not be taken from paper to the big screen without losing its splendor.

On the other hand, and to finish, In fact, unlike other science-fiction movies, we must also highlight the aging that this movie has sufferes and some mistakes in lack of imagination: go faster than light, talk about millions of years (it is enough to compare 1900 with 1999 to see that it does not take millions of years to reach the pinnacle of knowledge), space suits, the clumsy motor skills of the robot and its design including its mechanical mechanism (worth the redundancy), preserving religious traditions and more. With the latter I am not talking about mistakes nor do I want to discredit the film. It's just that the 10/10 science fiction movie must be the one that time doesn't pass so overwhelmingly.

>**Altaira Morbius**: Where have you been? I've beamed and beamed.
**Robby**: Sorry, miss. I was giving myself an oil-job.
**Altaira Morbius**: Robby, I must have a new dress, right away.
**Robby**: AgAiN?
**Altaira Morbius**: Oh, but this one must be different! Absolutely nothing must show - below, above or through.
**Robby**: Radiation-proof?
**Altaira Morbius**: No, just eye-proof will do.
**Robby**: Thick and heavy?
**Altaira Morbius**: Oh, no, Robby. It must be the loveliest, softest thing you've ever made for me, and fit in all the right places, with lots and lots of star sapphires.
**Robby**: Star sapphires take a week to crystallize properly. Would diamonds or emeralds do?
**Altaira Morbius**: Well, if they're large enough.

==The only interestingly written exchange in the whole film==

It starts out with some indecipherable technobabble and continues to give the impression of being incompetent nonsense, but then it comes out of nowhere with some truly impressive production and set design, along with some antiquated and arrested developmentally stagnant sexual politics that shows how infantalized we were in the 1950s, and how much we continue to be, proceeding from that. I don't know if it had a rating at the time, but given it was Disney, I'm actually surprised at how preoccupied with sex, and how aggressively provocative* some of the subtext is—though, again, in a decidedly immature mode. Also, if I understood the opening exposition, they thought it would take until the end of the 21st century for humans to land on the moon... just ten years before it happened. But hey, we had no idea when AGI would be developed 15 years ago, and we may be there by Christmas.

The three deaths near the end of the film are so stupid that I felt them completely deserved. Apparently ray guns are like water hoses, and you need to get closer to really give it to 'em, or so they felt.

However, once it decides to give up its secrets, it surprises with some genuinely interesting and high concept science fiction that manages to almost not be behind the times of actual SF literature (of the 1950s). The dialogue never trips the needle above "serviceable", though, and it gets pretty terrible in the finale. The drama and acting is straight out of the 1930s, as is the anti-musical, experimental Therminvox "score", and the directing lifeless. The kissing is pretty good for awkward 1950s post-puritans, though, especially as everybody is pretty okay to look at.

Actually, the whole thing has a pretty 1930s pedigree, aside from the production design. I say that, but then I think about (the production design of) Fritz Lang's _Metropolis_. Now there's a moving science fiction action drama. (J/K) Oh wait, I was thinking of ~~Osamu Tezuka's~~ Rintaro's _Metropolis_. Holy snot, I love that movie. Same basic concept, but that (those) films are a lot more expansive and have a greater breadth of spectacle, and—at least the latter—depth of character. Seriously, that film made me appreciate Louis Armstrong while making me cry like someone had just told me my childhood love had just died.
--~~~~--

**A sci-fi landmark that, however, is quite dated and has aged poorly.**

I confess that I expected more from this film. Its impact at the time is undeniable, and it is a renowned classic of sci-fi cinema. In fact, we can almost say that it is part of the “pantheon” of founding films of this genre of cinema, as it was one of the first big-budget sci-fi films with a great public impact.

The best thing this film has to give us is its almost inexhaustible creativity. It is quite evident that the team of creators had time to create and develop ideas and the studio decided to allow its specialists wide margin of maneuver. When this is combined with an appropriate budget and a serious investment in high quality special, visual and sound effects, we have what it takes for a film that is visually impactful and capable of seducing us.

I can only imagine how the public at the time reacted to this film: my reaction is different. In fact, our perspective has to be different: more than sixty years have passed since the premiere and the technical and technological advances in cinema, as we know, have accustomed us to other types of visuals and effects, and thus, this film does not manages to surprise and delight in the same way it enchanted the public when it was made. This is not a defect of the film, it is almost a “defect” of the audience, which in this specific case is me.

The cast has some well-known names. It was interesting to see Leslie Nielsen much younger and playing a radically different type of role than the ones I'm more used to seeing. Walter Pidgeon also does a very good job and, despite not liking the character, I recognize Anne Francis' effort and talent. And despite being a character and not an actor, Robbie is delightfully likeable.

The biggest problem with this film turns out to be its age: it is a dated film that has aged quite poorly, and may have difficulty finding new audiences capable of enjoying it nowadays. But it wasn't because of the visual issues and effects that I found it so dated. It was due to the intrinsic machismo in the plot, in the conception of the characters and in the idiotic romance that is included in the film. The film is a mirror of a mentality that, for us, is unacceptable and regressive, in which women are obedient and submissive to any and all male desires. I can foresee some of my friends screaming with the force of their indignation if they had to see this film. Since I am not even remotely close to feminist causes, this is not a problem for me, but it is still a sign of how dated this film is.

**_The 50's prototype Sci-Fi film and... Anne Francis_**

I didn't see "Forbidden Planet" (1956) until a full four decades after it's debut. I've seen it a few more times since then and here's what strikes me:

For one, although Star Trek creator Gene Roddenberry is undeniably great, practically every primary aspect of Trek is present in "Forbidden Planet," which was released almost a decade before the first Star Trek pilot episode was produced (!). You name it: warp drive, Captain/First Officer/Doctor triumvirate, alluring space females, beam down/up (in a visual sense, at least), etc., it's all here in "Forbidden Planet."

The flick combines Shakespeare's The Tempest with psychological concepts. The invisible id monster is horrifying when finally viewed. It looks like a serious rendition of the Tasmanian Devil. The concept of the monster is a fascinating revelation and I wasn't expecting such mature commentary in a 50's sci-fi flick.

Furthermore, Dr. Morbius' elaboration on the former inhabitants of his planet, the Krell, is awe-inspiring to this day and the archaic special effects hold up well. This was the first major film to be set wholly in space and one of the first to feature an entirely electronic score (perhaps better described as a soundtrack).

One thing that really blows me away every time I catch this flick is, of course, Anne Francis, who plays Altaira (or Alta for short), in her cute space outfits.

I've heard some people complain about the scene where we are led to believe that Alta (Francis) is skinny-dipping, only to plainly observe that she's wearing a loose skin-colored bathing suit. Is this a cop-out on the filmmakers' part because it was 1956? Not at all because the bathing suit is clearly visible once she steps out of the water. Despite her sheltered innocent nature, let's give Alta some credit -- she was obviously playing a little coquettish joke on the Captain, to shock him and stir his mounting desire (which obviously worked).

Please remember that "Forbidden Planet" is from 1956 and so understandably has dated aspects, like the sound effects, small portions of goofy dialogue, the Captain's communicator, etc. Regardless, it must be HAILED as the honored blueprint for numerous sci-fi films and TV series to come.

The film runs 1 hour, 38 minutes, and was shot entirely in the studio in Culver City, SoCal.

GRADE: A

Your mind refuses to face the conclusion.

Forbidden Planet is directed by Fred M. Wilcox and stars Walter Pidgeon, Anne Francis, and Leslie Nielsen. Screenplay is written by Cyril Hume from an original story by Irving Block & Allen Adler (original title being Fatal Planet). It is a CinemaScope production out of Metro-Goldwyn-Mayer and is shot in Eastman Color (not Metrocolor as suggested on some sources) by cinematographer George J. Folsey. The piece features a novel musical score (credited as "electronic tonalities") by Louis & Bebe Barron.

Loosely based around William Shakespeare's play The Tempest, the story sees Nielsen and the crew of the C-57D spaceship sent to the remote planet of Altair IV. Where once was a colony of Earthlings, now the only inhabitants are Dr Morbius (Pidgeon), his daughter Altaira (Francis) and Robby, a highly sophisticated Robot that Morbius had built. It transpires from Morbius that all civilisations on Altair IV was wiped out by an unseen force, but not before he himself was able to use some of the knowledge gained from the Krell race to build Robby and the Plastic Educator. However, it's not before long something starts stalking and killing the men of the C- 57D. They must get to the bottom of the mystery or they too will be wiped out.

The 50s was of course the decade of the B movie. A decade where science fiction schlockers and creaky creature features ruled the drive in theatres. As paranoia of potential nuclear war and technology spiralling out of control gripped America, film studios grasped the opportunity to make a cash killing whilst providing an entertainment stress release courtesy of science fiction based movies. Be it giant insects, creatures or alien invaders, there were some fun - some bad - and some rather smart movies that hit the silver screen. Falling into the latter category is Forbidden Planet, an intelligent and excellently produced movie that is one of the few that genuinely holds up well over 50 years since its release. To delve further would be unfair to potential newcomers to the film, but in short the piece carries interesting motifs such as sexual awakening, the power of the sub-conscious, or more appropriately the perils of a repressed conscious. It's a Freudian twister, and then some.

Also lifting Forbidden Planet a long way above those men in rubber suit movies of the decade is the production value of the piece. True, the budget was considerably larger than what was normally afforded the genre (almost $5 million), but every penny is up there on the screen. The CinemaScope really brings to the front the sets and visual effects, while the Eastman Color fully enhances the animations and matte paintings on offer. The whole look and feel of the movie points to it being later than 1956, so it's no surprise to see musing on the DVD extras such luminaries like Spielberg, Lucas, Cameron & Scott, since Forbidden Planet has influenced as much as it has enthralled.

With one of the cleverest stories in the genre, one of its best ever robots (Robby would become a star all on his own) and certainly the best spaceship landing ever, Forbidden Planet is a genre high point and essential viewing for those interested in said genre pieces. 9/10