Some squandered potential here: the premise (which I assume comes from Wells) of a world war so catastrophic that it dramatically reshapes future history is intrinsically interesting to me. And some of the filmmaking here recalls the editing techniques of the early Soviets in a way that thrills and fits the subject material. Unfortunately, the acting and screenwriting are pretty bland and forgettable across the board--British films of the era continue to disappoint me.
From its striking beginning to its conclusion, the movie transports us to an intriguing array of worlds, each more fascinating than the last. The first third is filled with commentary about the possibility of a mass bombing wiping London off the map, a disaster that is quickly foreseen. The central part is occupied by an elaborate evocation of the post-war countryside ravaged by plagues, while the final part shows the British venturing into space with all the proselytizing passion of Victorians sent to subjugate villains.
The images and scenarios depicted in the film bring to mind notable influences, such as Fritz Lang's Metropolis, which explored megalomaniacal ambition in urban architecture, or German Expressionism, which is evident in the masterful use of shadows, chiaroscuro, and composition to depict the horrors of war. Furthermore, the film is reminiscent of visual symphonies like Philips Industrial Symphony of '31,' which powerfully portrayed the manufacturing processes in mega-factories.
These cinematic influences skillfully intertwine within the movie's plot, enriching its visual narrative. However, the continuous soliloquies and exacerbating dialogues, along with various climaxes, contribute to an uneven pace that can be challenging to follow. The film navigates through a constantly fluctuating curve of attention, taking the plot through peaks of emotion, moments of deep reflection, and instances of intense action, as well as periods of calm. The result is that at times, the plot seems to meander, and the footage appears disjointed. At the same time, the philosophical weight behind the movie is immense. Every scene seems to question society, its progress and evolution, the purpose of science and knowledge, and even philosophy itself from a multitude of angles. While this rollercoaster of questions can be intriguing for some viewers, for others, the experience may feel negative due to its inconsistent pace and the lack of depth in each of the philosophical themes raised.
In conclusion, I want to highlight the scene in which the great Cabal, who bears a striking resemblance to the figure of Progress immortalized in one of the Nazi monuments designed by Albert Speer, delivers a grandiose technocratic canticle. This impressive sequence inevitably evokes Leni Riefenstahl, who, through works like Triumph of the Will, left an indelible mark on the visual representation of power and technology: 'Enough rest for the individual; too much and too soon, and we call it Death. But for Man, there is no rest and no end. He must go on, conquest after conquest. [...] And when he has conquered all the profanities of space and all the mysteries of time, he will still be beginning... The whole Universe... or Nothing. What shall it be?'
I watched the colour version of this on a boring flight home! The predictions of a devastated world didn't come true. But, bearing in mind this was made in 1936, some of the future technology like flat screens, tablets and watch phones were pretty spot on. More accurate than some films made decades later.
If you like old sci-fi films, it's worth giving this a go. I did find the first part a little slow, though.
Shout by moonkodiBlockedParent2022-01-24T23:54:44Z
A lot happens. World war. Biological warfare disease. Totalitarian dictatorship. And finally a technocratic utopia. In all scenarios we learn all societies succumb to the human nature of conquest in some way.
Is the movie relevant today? Consider something like biotech. The intention is to make the rich richer by controlling that emerging market from inception and creating the demand, as well enabling population surveillance. This is under the guise of progress and protection of some sort.
The movie lacks depth in order to jump through timeline plot to tell the story, but it's understandable and I don't mind. I can see the story structure being a problem for some, and some timelines did drag on more than others. But the movie is ahead of it's time. It looks good and is imaginative.