Leslie Nielsen and Anne Francis Meet Sci-Fi Immortality on Forbidden Plant

 

               One of the most intelligent and enjoyable science fiction epics of the 1950’s, with class MGM production values that also place it as the most lavish otherworldly adventure of the period, 1956’s Forbidden Plant imaginatively retells Shakespeare’s The Tempest in galaxy far away, casting a spell over viewers of all ages as the scenario concerning spacemen in the 23^rd century on an expedition to the planet Altair to search for survivors from a previous journey 20 years before unfolds in riveting fashion. Helmed with impressive skill by director Fred Wilcox, and a far cry from the Lassie films that made his name at the studio, the various elements of suspense, romance, fantasy and comedy found in the creative, engrossing screenplay by Cyril Hume from Allen Adler/Irving Block story concerning , are dexterously interwoven with a top cast of players, including Walter Pidgeon, Anne Francis and newcomer Leslie Nielsen,  lending individual flair and sincerity to their choice assignments, including the introduction of a true sci-fi icon, vivid lensing in Eastmancolor by George J. Folsey that, along with ace special effects and choice art and set direction by Cedric Gibbons and Arthur Lonergan, helps create a colorful and fascinating alternative universe, and one of the cinema’s most eerily impactful scores, with composers Bebe and Louis Barron working wonders in producing their famous electronically driven score.

                For director Wilcox, Planet afforded him the outlet to oversee a big budget, challenging project, after he had spent over a decade at MGM, starting with 1943’s Lassie Come Home, then helming three more Lassie films before ending the decade with another child-oriented movie, The Secret Garden. Switching to dramatic fare in the 1950s with moderate success, Planet provided Wilcox the means to exhibit his talent for investing the opulently staged set designs and fantastic plotline with a childlike sense of wonder that, even with the film’s frightening elements, serves as ideal viewing for sci-fi fans of all ages. Specifically impressive is the manner in which Wilcox puts Joshua Meador’s astounding animation of the terrifying Id monster front-and-center after building the tension for the raging destructive force of the Id. Similarly, early on Wilcox sagely offers an attention-getting introduction for the film’s breakout star, Robby the Robot (expertly voiced by Marvin Miller in appropriately monotone, automated fashion), as the space crew notice a dust formation rapidly coming closer. After this debut, Wilcox focuses ample time on providing the audience with more info on what exactly makes Robby tick, adding much humor to the proceedings and ensuring Robby his spot among the most beloved figures in 1950’s movies.  Following the peak of Planet, Wilcox would direct one more film, 1960’s intriguingly titled I Passed for White before his passing at age 56 in 1964.

                As Dr. Edward Morbius, the sole survivor of the first trip to Altair, top billed Walter Pidgeon utilizes his confident, stoic and distinguished demeanor and deep, resounding voice to create a calm-yet-commanding, forceful presence. Starting his career in films in 1926 during the silent era, the handsome, reliable Pidgeon slowly progressed as a leading man during the 1930s, before becoming a major star and box-office draw in the 1940s, first as the hero of 1941’s Oscar-winning Best Picture, How Green Was My Valley, then via a series of ideal pairings with Greer Garson, including one of the decade’s biggest hits, Mrs. Miniver (making it two Best Pictures in a row for Pidgeon) and Madame Curie, both of which gained him Best Actor Oscar nominations. Continuing into the 1950s as something of an elder stateman at MGM in top fare such as The Bad and the Beautiful and Executive Suite, Pidgeon would gain his richest role in years as the complex Morbius, driven by internal passions beyond his control as he attempts to guard his beautiful young daughter from the advances of several of the romantically inclined crewmen while also protecting the durable advanced technological empire (the depiction of which really gives the art and set designs a chance to shine in overwhelming manner) created centuries before by the ingenious Krell Race from the crew’s intrusiveness. Pidgeon does a fine job in illustrating the doctor’s unwillingness to welcome the members of starship C-57D and indicating mysterious circumstances are involved in Morbius’ mindset, allowing him to become a character the audience can both sympathize with and, as events unfold, grow leerier of as some unhinged aspects of the doctor’s nature arise. After his imposing appearance in Planet Pidgeon would continue in films for the next two decades, with highlights including Voyage to the Bottom of the Sea, Advise and Consent and strong work as Florence Ziegfeld in 1968’s smash Funny Girl, making his final film opposite the equally indomitable Mae West in 1978’s Sexette, before passing away in 1984 at age 87.

Gaining film immortality in her icon role as Altaira, Morbius’ alluring, naïve daughter curious to discover more about the crewmen and their customs, the stunning Anne Francis invests the role with the proper innocence and moxie in a thoughtful, skillful performance indicating the experience young veteran Francis had already gained in her impressive screen career. Born in 1930, Francis started in films as a teen via a debut in 1947’s This Time for Keeps, then slowly worked her way up the Hollywood ladder, first in bit parts (she can be glimpsed at the end of Portrait of Jennie), then moving on to leads and second leads in some top early-mid 1950’s films, including Bad Day at Black Rock (wherein, similar to Planet, she is the only female cast member) and two major 1955 hits, Battle Cry and Blackboard Jungle. The professional poise and affinity with the camera Francis exhibits in Planet assures audience attention stays on Altaira (aided by some daring, revealing and gorgeous costumes by Helen Rose), even in scenes wherein she has little or nothing to say. Also, she capably shows Altaira’s increasing strength of character, as she becomes more knowledgeable of her and Morbius’ circumstances. Following Planet, Francis would continue in films (including a brief reunion with Pidgeon in Funny Girl) and score strongly on television, starring in the famous “The After Hours” episode of The Twilight Zone before winning a Golden Globe for her stint as a private eye on the Honey West series. Continuing through the 1980s and 1990s as a guest star on many top t.v. shows, Francis would make her final appearance on two episodes of Without a Trace in 2004 before passing away at 80 in early 2011.

                In his first major role after appearing in Ransom! earlier in 1956, Leslie Nielsen established himself as a low-keyed, persuasive screen actor of note. Although fitting the requirements for the squared-jawed, virile matinee idol type of star, Nielsen hints at the lighter, mock-serious aspect of his playing that would make him a huge star in comedies in the 1980s and beyond. As John J. Adams, the commander of the C-57D, Nielsen forthrightly demonstrates the strength and focus needed to convince as the leader, but he also finds moments of bemusement as Adams interacts with his colleagues, bringing both dramatic heft and levity to the role. In his romantic sequences with Francis, the statuesque Nielsen displays a charmingly boyish quality as Adams awkwardly attempts to get closer to the attentive maiden. The sturdy leading man would solidify his place among Hollywood’s new talent in the following year’s Tammy and the Bachelor opposite Debbie Reynolds, then spend the next two decades as a stalwart figure in films and television, including a memorable turn (literally) as the unlucky Captain Harrison, placed in charge of the title vessel in The Poseidon Adventure, before a hilarious role of a very different sort as the somber, but masterfully tongue-in-cheek doctor in 1980’s Airplane! garnered his career a whole new life as a major star of zany fare, including The Naked Gun (first on television, then in three movies) and Scary Movie series, among many others. Nielsen’s work in this satirical comedy genre continued in fairly unbated fashion, until his passing in 2010 at 84.

                A constant presence on films and television during the 1950s and 1960s, the hardy Warren Stevens has possibly his best-remembered screen role as Lt. “Doc” Ostrow, the staunchly loyal cohort of Adams. Starting in films as a pre-teen in 1939’s The Story of Alexander Graham Bell, Jack Kelly also has his signature big screen role as crewman Jerry, who vies with Adams for Altaira’s attentions and has a few amusing exchanges with Francis early on, just before Kelly gained major stardom on television as Bart Maverick. Another who went on to higher-profile stardom after a memorable showing in Planet, Richard Anderson is briefly onboard as Quinn, the crew’s Chief Engineer, years before his best-known work in the hit television sci-fi series The Six Million Dollar Man and its spinoff, The Six Million Dollar Woman. Finally, experiencing a great year in films with the blockbuster Giant and an endearing, Golden Globe-winning performance in The Rainmaker also to his credit before going on to greater television fame (via Police Woman), the ingratiatingly comic Earl Holliman scores heavily in Planet’s most entertaining and lightest subplot, wherein his cook befriends Robby, leading to a most un-sobering endeavor.

With its March 1956 release, the vastly entertaining, though-provoking Forbidden Planet was justifiably praised by critics for reaching a quality of filmmaking seldom seen in most sci-fi movies. Audiences also took to this Planet immediately, with the film eventually ending up with a profit despite the large production costs for the ambitious, risky undertaking. Unnoticed during most of the award season (possibly due to genre bias against sci-fi), at the Academy Awards Planet reaped a well-deserved nomination for Best Special Effects. The film has resonated strongly with subsequent generations as one of sci-fi cinema’s greatest undertakings, with re-releases (including kiddie matinees), showings on television and constant output on physical media exposing the classic to new Planet fans. The National Film Registry included the film on its 2013 list, while the fame of the movie took on a life of its own as Robby the Robot became one of the most lasting and recognizable film fabrications and pop icons ever, with a wealth of further appearances on films and television, while the movie and Ms. Francis were further etched in cinema history via homage to them during the opening of The Rocky Horror Picture Show. Sci-fi aficionados and movie lovers in the mood for seeing one of the most artfully conceived films of the fantastical genre, with class production values across the board and a cast and crew fully committed to selling the premise in highly compelling and entertaining fashion, will find a rich and unforgettable viewing experience by making a star trek to the inventively bewitching world of Forbidden Planet.