But the Eloi are not slaves of the Morlocks, because they do no work. It's even worse; they're livestock, kept and tended to provide food
I think that is an apt distinction. In the movie it said that some went into the earth and some stayed above. I don’t recall if the movie mentioned any class differences. I don’t think it did.
But I would see the Morlocks as more the descendants of the elites (without their masks…we see their ugly self through no veil). They are but a parasitic class, producing nothing. And the Elois are the descendants of Progressives — having finally settled into a near perfect relationship with their masters. They live a complete (if short) life of leisure and have no idea of the nature of their masters, nor are they aware of the game they are playing in.
Yes, it was several hundred thousand years in the future or something. But a long time, whatever it was.
In the movie it was three books taken from Wells’ bookcase. One could assume the selection was something like the Bible, the complete works of Shakespeare, and maybe the Oxford Dictionary. Or maybe they were more technical books.
I’ve never ready Jane Eyre. I’m not sure I ever will. Sounds depressing.
And although this is the FilmStruck thread (which will soon end), after “The Time Machine” I watched “Saturn 3” on Amazon Prime. I probably had seen most of this before, but only on TV where it surely would have been severely edited.
This is a rotten movie, and it doesn’t please me to say so because Kirk Douglas is one of my favorites. You could watch this with friends and have great fun with some at-home Mystery Science Theatre 3000 mocking.
Only three actors are ever shown on screen: Farrah Fawcett, Kirk Douglas, and Harvey Keitel (although not his voice which was dubbed by someone else). Douglas and Fawcett are the only two workers on a hydroponics research station (and seemingly quite a big one) on some moon orbiting around Saturn. And you know this movie is going to suck big-time when the opening scene (or very near the start) shows a ship on its way to the station. And, of course, it first goes through the rings of Saturn to get there. Boulders are packed shoulder-to-shoulder and somehow the ship makes it through. Going around the rings would have lost a moment for some (in this case) bad special effects.
Keitel murders (why? we never find out) the captain whose mission is to join Douglas and Fawcett and help them out by bringing them a disassembled robot packed in three crates. The reason Keitel kills the captain and takes his place is so that he can smuggle a brain with him….which is incased in a fairly huge metal cylinder, but nobody questions him while he’s walking to the ship. Yes, this is a bad movie and you quickly learn not to ask such questions. You’d never be able to stop.
None of us are getting any younger. And Kirk Douglas (rightly so) is known for his vigor and vitality. Well, you can see the only reason Douglas signed onto to this project was to cheat Father Time. He plays a Jack Lalanne kind of eternal-youth character who has, of course, the most beautiful woman of the time draped over him like a throw pillow. There are calisthenics and exercises galore. At one point we even see Kirk Douglas in his birthday suit, everything but full frontal.
We should all be in that kind of shape when we’re 63. He even does a couple minor stunts that are impressive. But it all comes across as trying too hard. And the horrible clothing that hangs off him simply makes him look fragile, not vigorous. Another thing that Star Trek got right. It makes a difference. The only thing I’ll say is that they’re not as bad as the uniforms worn on Space 1999.
We get a boob shot of Farrah at one point, brief though it is. And other than Kirk Douglas’ butt and Farrah Fawcett’s breasts, those are the highlights. And maybe that ridiculous dubbed voice coming out of Harvey Keitel. At first, I thought he was a human-looking robot sort of like Bishop in Aliens.
It’s interesting that what starts as more of an Outland type of psychological thriller turns into a low-brow monster film about a robot gone rogue. Douglas could have played a heroic O’Neil-type of character (as did Sean Connery in the role), a man out on the rim, barely significant, wondering what it’s all about and if his time will ever come.
Nope. That would be too much thinking. So cue the robot and let it go bonkers. They couldn’t even play up the obvious shtick they had built up which was the robot being infused by Harvey Keitel’s lust for Farrah. There’s no moment of “Gee, Mr. Robot. If you love me, you’ll let us go.” Maybe she then hikes her blouse. Whatever.
But the film started going down a ramp early and there was just no way to lose that momentum down the circling drain. Fawcett, who would later do much better work (and was certainly plausible as a bimbo-ish Angel), is terrible. But you can’t blame the actors for this mess (unless Douglas asserted influence so that he could play Jack Lalanne…and it certainly looks like he did). This is just an awful script with awful direction. But some of the sets are cool, although there might be a bit too much reliance on large tubing.