Planet Of The Apes (2001)

2.5 out of 4

Starring: Mark Wahlberg, Helena Bonham Carter, Tim Roth, Estella Warren, Michael Clarke Duncan, Paul Giamatti

Director: Tim Burton

Time: 118 mins

The original Planet Of The Apes, made in 1968, is considered a minor sci-fi classic. Based on Pierre Boulle's novel about an astronaut who crash lands on a futuristic planet ruled by apes, it starred Charlton Heston during his sci-fi hero phase (see also Soylent Green and The Omega Man) and features an immortal line and an ending that wowed audiences. Now, in 2001, stylish director Tim Burton (Edward Scissorhands) has "re-imagined" a new version of the book, with all the technical improvements and visual artistry that current special effects can impart to such a project. Though there are some reverential nods to the original, and some of the social themes of the book are touched upon, the thing that instantly comes to my mind regarding the 2001 version is that it lacks passion. For example, most of Burton's films have a distinctive look to them, but little of what is in Planet Of The Apes 2001 stamps it as a Burton work. The film is entertaining enough, but it just lacks the conviction needed to be a very good or great film.

Former rapper Mark Wahlberg is Leo Davidson, a member of the US Air Force who is conducting experiments on a space station with chimpanzees and other apes and monkeys. The appearance of a gigantic electrical storm in space sucks Davidson into a time-altering vortex that propels him several hundred years into the future. He crash lands on a planet where humans are slaves and intelligent apes are the masters. With the remnants of humanity, like the beautiful Daena (Estella Warren) and her father Karubi (Kris Kristofferson), as well as help from the socially aware ape Ari (Helena Bonham Carter), Davidson organises a revolt. The vicious (and ambitious) General Thade (Tim Roth) and his second-in-command, Attar (Michael Clarke Duncan), seek to detroy this ragtag group before the secret of the apes' origin is revealed.

Planet Of The Apes has an interesting storyline that highlights the role reversal between humans and apes. What if apes are the dominant species, and humans are treated as slaves? In this nightmarish world, street musicians of the monkey kind have human dwarves gathering money from passersby, while young female apes get to choose a young human girl as a "pet". Of course, all this is meant to cast a social mirror on human society itself, with all its associated cruelty towards and disregard for other species. Burton and the writers, however, fail to push the button any further; it's as if they're reminded halfway through that this is supposed to be a "summer" movie and we can forget about the deeper aspects. We, the audience, need action and thrills, not a thinking person's movie, and that's what the last half of this film succumbs to.

Not that a good sci-fi action film can't be made, of course (see James Cameron's Aliens and the Terminator series). It's just that Burton's direction lacks its innovative sparkle, and his trademark visual artistry is all but missing. Planet Of The Apes does have some nice visual touches, such as the main ape city, which is claustrophobic and dark, yet cosy and warm at the same time, but this could just as easily have been attributed to some other director. One can often distinguish a Burton film by the look alone - examples include the dark, gothic world of Batman, the pastel fairytale land of Edward Scissorhands, and the atmospheric Sleepy Hollow - but in Planet Of The Apes, the Burton touch is absent. Even the music of his frequent collaborator, the great Danny Elfman, is curiously formulaic.

In a movie where half the actors are cast as apes, mention must be made of the ape costumes and make-up. Though the work by maestro Rick Baker (Nutty Professor 2: The Klumps, et al) is very good, one can still tell that these are just a bunch of actors in monkey suits. Another aspect that detracts from the immersiveness of the film is that the ape movements (such as the hunched running, etc.) are fairly well done for the most part, but every so often an ape here or there will be walking upright, like a human. Maybe it's just the next stage in their evolution, but nevertheless it doesn't help to convince.

As for the acting, the result is a mixed bag. The actors in ape costumes are uniformly better than the actors portraying the humans. Wahlberg (from Boogie Nights, The Perfect Storm and Three Kings), for example, for all his determination and gung-ho attitude, doesn't quite come off as a convincing hero, unlike, say, Harrison Ford as Indiana Jones (though that may be an unfair comparison). Likewise, supermodel Estella Warren, as the pretty love interest for Wahlberg, doesn't do much except look comely in her slinkily cut tribal dress, and speaks even less (I think she has about four lines in the entire movie). The apes, however, do much better. Tim Roth, as the evil General Thade, sometimes overdoes his vicious ape routine, but does make Thade someone to be feared. English actress Bonham Carter is very good as the ape who assists the humans. Her fear at approaching water (apes can't swim) is very real, indeed. Fine support is also given by Paul Giamatti (Man On The Moon) as a snivelling slave trader, and Michael Clarke Duncan (The Green Mile) as Roth's right hand ape. Finally, look for a cameo from Charlton Heston himself.

Planet Of The Apes has been given an aggressive marketing push by Twentieth Century Fox. I have seen the trailer on cinema screens no less than five times in the past few weeks. The promise of action, special effects, and Tim Burton's touch will certainly draw in the crowds initially, but it's doubtful whether the film will have much legs. Planet Of The Apes is passable entertainment, but the lack of passion and conviction from the filmmakers means it's not a work I, and probably a lot of other filmgoers, will readily want to watch again and again.

(c) Joe Wong (29 July 2001)