“Where there is fire, there is smoke. And in that smoke, from this day forward, my people will crouch, and conspire, and plot, and plan for the inevitable day of Man’s downfall.
The day when he finally and self-destructively turns his weapons against his own kind.
The day of the writing in the sky, when your cities lie buried under radioactive rubble! When the sea is a dead sea, and the land is a wasteland out of which I will lead my people from their captivity!
And we shall build our own cities, in which there will be no place for humans except to serve our ends! And we shall found our own armies, our own religion, our own dynasty! And that day is upon you NOW!”
Sorry, humans. I guess that’s your ass.
In the “far off future” of 1991, people now live in what looks to be an oppresssive, militaristic society. Law enforcement (dressed in the finest stormtrooper fashions) is visible on every street corner, and endless directives and warnings are issued from faceless announcers as the civilian populace goes about its daily affairs.
What’s missing? Cats and dogs, all of which have died off as the result of a mysterious disease brought back from a space probe. This little bit of misfortune, of course, was foretold by chimpanzees Cornelius and Zira in the previous film, Escape from the Planet of the Apes, though it’s happened far more quickly than they indicated. So too has mankind’s desire to replace their little lost subservient quadrupeds, and they’ve turned to domesticating primates. By 1991, simians are a subclass; a slave race. However, is the collective intelligence of the apes on the rise?
So, what happens? Add one intelligent, speaking chimpanzee to the mix–himself the offspring of Cornelius and Zira–to stir up some shit. Before you know it, the apes are pissed and they’re not gonna take it anymore, and so that’s humanity’s ass. Cue revolt.
Released on this date in 1972 after a Los Angeles premiere on June 14th and another in New York on June 29th, Conquest of the Planet of the Apes brings almost full circle the story begun in 1968’s Planet of the Apes. This third sequel to that classic film shows–at least to some degree–what’s promised in its title and tagline. As for Conquest being “the most awesome spectacle in the annals of science fiction,” I think we all can agree this was a bit of overreach from the marketing folks (and, we all know that honor goes to Barbarella, right?).
By the time production kicked into gear on this, the fourth of the Apes films, the cycle of diminishing returns was firmly in place. With each successive movie earning less at the box office, budgets for the next one were reduced accordingly. Therefore, director J. Lee Thompson faced the challenge of convincingly depicting what turns out to be the genesis of the ape uprising hinted at in the previous film, the longterm effects of which are–of course–apparent in the first movie. And, he had to do it on a budget which probably wouldn’t cover the catering bill on a Michael Bay shoot. This was prequel-izing before prequel-izing was rampant, yo!
The first half of the film isn’t the most exciting cinema you’ll ever see, but there’s a deliberate “tightening of the screws” going on as we see Caesar coming to terms with the role of apes in modern society, and deciding he ain’t playing that game. Once he learns of the death of his friend, Armando (Montalban) at the hands of government officials, watching him slowly yet firmly begin to push the apes around him toward dissent is, oddly enough, satisfying.
A larger budget might’ve allowed for more expansive scenes of turmoil once the apes lose their shit and start tearing up the joint. Still, considering what he was working with, director Thompson does a decent enough job injecting energy and tension into the scenes of ape rebellion which carry the film’s final act. Tight camera angles and deft editing manage–for the most part–to mask the production’s sparse budget, while strong performances from Ricardo Montalban, Don Murray, Severn Darden, Hari Rhodes, and Natalie Trundy (as the chimpanzee Lisa, her third different role in three consecutive Apes outings) help to elevate the material a notch or two above the previous two sequels.
But, again, it’s Roddy McDowall who carries the film on his stooping shoulders. Starting out as a supporting role in the original Planet of the Apes before moving to top billing in Escape (another actor, David Watson, portrayed Cornelius in the first sequel, Beneath the Planet of the Apes), he dons the ape makeup here for a third time, but for the first time as “Caesar,” the son of Cornelius. As usual, McDowall brings a warmth and–dare we say it–“humanity” to the role, which is sort of important now, as by this point in the series we’re all firmly rooting for the apes to kick humanity right in its collective taint. He would reprise the role of Caesar in the fifth and final of the original films, Battle for the Planet of the Apes, before going on to play yet another chimpanzee, Galen, in the 1974 live-action Planet of the Apes television series.
Moving past the original Planet of the Apes, which (so far as I’m concerned) stands apart from everything which came after it, Conquest of the Planet of the Apes is actually my favorite of the Apes sequels. Like a lot of folks, I’ve always wanted to see what comes next. Obviously, we know what ultimately happens, but that still leaves plenty of room for a whole assload of stories set between the events of this film and the next one. Some of that territory has been explored, mostly in comics published by three different companies in sporadic fashion over the past 40-odd years.
And, lest we forget, it’s Conquest that provided much inspiration for the “reboot” Apes films: 2011’s Rise of the Planet of the Apes, Dawn of the Planet of the Apes from 2014, and 2017’s War for the Planet of the Apes. Indeed, you can also see more than a bit of Battle DNA in the latter two films.
Not a bad bit of legacy-leaving, if you ask me.
Happy 50th, Conquest of the Planet of the Apes.