Introduction
Origins
Released in 1968, the film was groundbreaking for its time, especially in makeup and practical effects. It was adapted from Pierre Boulle’s novel, Monkey Planet. Boulle was already familiar to audiences thanks to The Bridge on the River Kwai (1957), so the source material had some prestige. Producer Arthur P. Jacobs bought the rights, and the first screenplay draft came from none other than Rod Serling, who contributed the now-iconic twist ending. Michael Wilson later shaped the script into the version that made it to the screen.
Director Franklin Schaffner, who had previously worked with Heston on The Warlord (1965), was hired at Heston’s urging. Jacobs and Schaffner even shot a test reel for 20th Century Fox to prove that the ape makeup could look convincing. Paired with Serling’s shocking ending, Fox finally bought in. The movie operates on several levels: science-fiction adventure, social commentary, and a stark warning about humanity’s flaws.
A Deeper Message
Like many great sci-fi and horror films, Planet of the Apes carries a deeper message, but here it’s unmistakable. The ape society is a clear allegory for racism, with chimpanzees as scientists, gorillas as soldiers, and orangutans as political and religious leaders. Their rigid hierarchy—and their treatment of humans—drives the point home.
The warnings about nuclear destruction are equally prominent, from the blasted desert landscapes to hints that the planet was once far more habitable. And of course, the ending brings all of it together in one unforgettable, devastating image.
Heston’s opening monologue sets the tone beautifully. As Taylor records a journal entry before entering cryogenic sleep, he wonders what kind of people will hear his message in the future and whether they treat each other any better than the people he left behind on Earth. It’s a somber, haunting way to begin the story, loaded with foreshadowing.
Filming
Planet of the Apes begins with a creeping sense that something is amiss. It escalates into full-blown chaos as unseen attackers strike, culminating in the iconic moment: gorillas on horseback, carrying guns, hunting humans. The shock on Taylor’s face—and on the faces of the other astronauts—sells the whole sequence without needing much dialogue.
Taylor’s escape attempt later in the film is another standout sequence. Once he discovers he’s scheduled to be gelded, panic takes over. Cinematographer Leon Shamroy shoots the scene with frantic, kinetic energy, utilizing unconventional angles and rapid camera movement to underscore the tension. The moment ends with the apes discovering that Taylor can speak, leading to one of Heston’s most famous lines and another turning point in the story.
Performances
The performances in Planet of the Apes are terrific. Kim Hunter (Zira) and Roddy McDowall (Cornelius) are wonderful as the compassionate chimpanzee scientists who see Taylor not as a threat, but as a revelation. Their chemistry and curiosity bring warmth to a world that otherwise treats humans as animals.
Maurice Evans, who stepped in after Edward G. Robinson dropped out due to makeup discomfort, is pitch-perfect as Dr. Zaius. Playing both the Minister of Science and the Minister of Faith, Evans gives Zaius a layered, almost Shakespearean depth. He’s a politician who knows far more truth than he’s willing to reveal, guarding it not out of malice but out of fear of what knowledge can instigate. His ideological sparring with Heston gives the film much of its power.
Special Effects and Music
The technical achievements in Planet of the Apes are just as important. John Chambers’ makeup effects were revolutionary—so expressive and convincing that the apes feel like genuine, living beings. His work earned a special Academy Award and influenced generations of makeup artists, including Rick Baker.
Jerry Goldsmith’s score is equally stunning: eerie, atonal, full of dissonant percussion and haunting flute lines that make the world feel alien and mysterious. Goldsmith received an Oscar nomination for his work, and the film wouldn’t be the same without that sonic atmosphere.
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