ALL SCI-FI

[Bud Brewster]

SOYLENT GREEN - (1973) In the prologue to "Make Room, Make Room", Harry Harrison's grim novel about over-population, he states that in the next few decades America's consumption of the world's natural resources will actually pass the 100% mark.

In other words, if we maintain our present standard of living, we'll need more resources than the world can provide. This, Harrison points out, is not only a mathematical impossibility, it ignores the fact that the rest of the world might want some of those resources, too.

"Soylent Green" is based on Harrison's novel, a near-future story that takes a look at life in the big city after things have begun to fall seriously apart.

Edward G. Robinson is wonderful as Heston's elderly friend, a man who remembers a Golden Age of prosperity and plenty (in other words, our present world). Directed by Richard Fleischer.

"Soylent Green" is the third film in Heston's highly enjoyable trilogy of sci-fi tales that includes "Planet of the Apes" and "The Omega Man". All three films foretell the doom of humanity. In addition to being a splendid actor, Mr. Heston has a real knack for playing prophets.
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Is there no man on Earth who has the wisdom and innocence of a child?
~ The Space Children (1958)

[Bogmeister]

WHAT IS THE SECRET OF SOYLENT GREEN?

starring CHARLTON HESTON
LEIGH TAYLOR-YOUNG co-starring CHUCK CONNORS * BROCK PETERS * JOSEPH COTTEN * EDWARD G.ROBINSON

Directed by RICHARD FLEISCHER



I've always liked this extrapolation on future events, predicting that by the year of this film, 2022, New York City would have about 40 million people.

OK, so it looks like they went a bit overboard. But, I like all the details of future life presented here, all associated with the theme of overpopulation.

The film has many moments, such as the scarcity of food we currently take for granted and the lack of living accommodations, that present a compelling picture overall. We see all this through the day-to-day existence of the main characters: Heston as a cop; Robinson as his 'book'; Taylor-Young as 'furniture' (note how some people are referred to as things).

I remember when I saw previews of this film as a kid, in the early seventies. The scenes were of those giant scoops picking up crowds of people and tossing them in the backs of special trucks. Wow, I thought, that looks wild.

Indeed, I like the entire atmosphere of this film; the city swelters under the long-predicted greenhouse effect, so everyone sweats.

There's not much of that futuristic technology, such as flying cars, with the have-nots contenting themselves with hand-me-downs from past decades (the quaint little TV set in Heston's apartment). There's none of that unrealistic futurism, as if all the super-advanced stuff came about magically. This film hasn't dated. At least, not yet.



This was the final film of Edward G. Robinson and maybe the best thing about this film is his and Heston's performances, in a father-son relationship. Not too long ago, I noted some comments on IMDb by (presumably) younger posters asking if these two characters were in a homosexual relationship. I couldn't understand where they came up with that idea.

Then, when I re-watched this recently, I realized what scene prompted such juvenile speculation. Early in the film, Heston's character is leaving the apartment and Robinson gently pats Heston's chin, also saying "But you love me."

It is, of course, a fatherly gesture, at a time when men were not afraid to show signs of affection, especially older gentlemen such as Robinson, who easily contributed an Oscar-worthy performance here.

[Bongopete]

These days there is a lot of attempts at 'seeing' homosexual happenings between characters in older films.

It's a very strange thing indeed.

I recently saw a movie just a few months ago where a character says 'Soylent Green is People'. So, our movie certainly has made an impression.

The movie of course is mainly a murder mystery, that sort of morphs into a political conspiracy one.

The underlying thread, which I think is only mentioned once...and which has lead to the processing of dead into Soylent Green is the fact that the oceans are now dead.

How long could a world (anyone remember if a population number is mentioned?) how long could society exist on Soylent Green?

[Pow]

Always admired Heston for doing SG, along with the 2 Apes films & Omega Man.

While they may not all be masterpieces, he was one of the very few actors at his level that would even consider doing an sf film.

Most kept away from sf at that time. SF films were not a highly respected genre even though such classics as The Day The Earth Stood Still, Forbidden Planet, The Thing From Another World, among others, should have proven that sf was an intelligent genre deserving respect.

[Bud Brewster]

Oh my goodness yes, I enjoy Heston's sci-fi efforts very much. The Omega Man holds some very fond memories — like, me and a young lady at a drive (actually watching the movie, 'cause we were marred ). She had some nice comments to make during the film.

Like, "He's so starved for the sight of crowds, he watches Woodstock every few weeks."

It's ironic that Heston was in one movie about the world's population being wiped out by a plague and another one about a world strangling from over-population!

Solylent Green is a grim-but-enjoyable movie. I refuse to eatgreen crackers because of it. Ah, but green eggs and ham — that's a different story! (No pun intended . . . )
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Is there no man on Earth who has the wisdom and innocence of a child?
~ The Space Children (1958)

[Krel]

Considering the conditions and food situation in the movie's world, you have to wonder if C.H. is doing society any favors by revealing the source of Soylent Green.

David.

[Bud Brewster]

[ralfy]

I read the book, but found the movie much better.

[Pow]

I did not read the book but enjoyed watching Leigh-Taylor Young.

[Bud Brewster]

[Robert (Butch) Day]

And while watching that "Soylent Goodie" don't forget to eat your Soylent Red:



Our fine products are enhanced with Soylent Yellow:



New to the Soylent Green line are:









Be sure to drink plenty of Soylent Blue:



BREAKING NEWS! Now Soylent Green is a drink!



(Based upon Green River pop — https://en.wikipedia.org/wiki/Green_River_%28soft_drink%29 — my favorite!)

Pye-rate loves them all!



[Picture of actor Nigel Green who played Hercules in Jason and the Argonauts (1963). Pye-rate looks like this except his face is wider.]
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Common Sense ISN'T Common

[Bud Brewster]

[Pow]

Bud, I believe that the majority of people saw science~fiction as superficial,and somewhat silly, entertainment primarily aimed at kids and teens.

Folks figured at that time producers couldn't make anything more out of sci~fi than Flash Gordon or Buck Rogers serials.

So sci~fi was the Rodney Dangerfield of film genres. It got no respect, no respect at all.

In spite of such enthralling & profound sci~fi movies that popped up early such as Metropolis, Things To Come, Forbidden Planet, The Day The Earth Stood Still to name a few, the audiences weren't swayed regarding the validity of this genre.

Slowly, inch-by-inch sci~fi gained respect and the awareness that it can tell stories just as rich,deep,and intellectual as any other genre.

Television had the same hurtle to overcome convincing audiences that sci~fi mattered and made for excellent commentaries on our society whether here on Earth,or on a faraway world.

Rod Serling, Leslie Stevenson & Joseph Stephano, Gene Roddenberry all made valiant efforts to show how amazing & serious sci~fi could be.

It wasn't just an uphill battle against public opinion. It was also attempting to show the thoughtful side of sci~fi while competing with juvenile sci~films and television series being produced.

Irwin Allen's TV shows are clearly one such example. I grew up with those series, enjoyed them, still marvel at the lavish production values they had.

However, they were shallow. You don't look at his shows for fascinating plots, rich character development, or commentary on complex societal issues.

Not that Allen ever intended his productions to do anything other than entertain kids and adults like a three-ring circus does. Entertaining they were but little else was offered.

His productions, his choice. I don't mean to attack his shows but realistically he did not advance thoughtful sci~fi either.

Again, it's the way he wanted it & that's what we got.

But every genre faces that some films & TV shows will be fantastic, some good, then fair, and the rest poor.

[Bud Brewster]

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Sadly, I agree.

And I'll add the obvious fact that Hollywood caused the public to have that low opinion of science fiction, simply because the vast majority of what they gave us was the low-budget, low-brow kind! Even in the Gold Age of Sci-Fi, we only got a few really good ones each year.

Go to All Sci-Fi's Chronological Index of movies by release dates and look at the list of movie for 1958, the most prolific year of the fifties, with almost 50 films released!

How many of those do I consider good? About six. And not a single one of the those moves are big A-list productions!

However, I think that the explosion CGI special effects should get a lot of the credit for Hollywood's ability to produce science fiction movies which the public has embraced.

Let's be honest, folks — when we were kids we enjoyed the flawed FX and loved the concepts. When we got older, we forgave the flawed FX and understood the concepts even better. We walked into the theaters already sold on sci-if — in fact, we were starving for it!

We love Harryhausen's amazing scenes in Earth vs the Flying Saucers because (a) we love stop motion, and (b) we're excited by the concept of a sky filled with alien invaders.

However, the average person doesn't jump for joy when faced with either of those elements in a movie. If the FX look fake to them, they don't buy the premise.

But along came ID4 with amazing FX of mother ships looming over American cities — looking totally realistic — and the public flocked to see the movie!

We, the devoted few who get excited just reading about such ideas, don't need totally realistic presentations to be thrilled by them.

But it sure doesn't hurt!
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Is there no man on Earth who has the wisdom and innocence of a child?
~ The Space Children (1958)

[Bud Brewster]