Originally entitled ''Planet of the Apes Revisited'', Ted Post took over direction from Franklin Schaffner in what is the best of the Planet of the Apes films after the original. While it deviates significantly from what the audience might have imagined would happen, script writer Paul Dehn takes us a step closer to understanding how this ''upside down'' civilization came to be.
The film is hindered by having less subtle commentary to make than its predecessor did (the Vietnam overtones are hard to miss), but none the less the excellent Cathedral sequence - ''the almighty bomb, who created heaven under earth'' - is masterfully orchestrated. A credit to Dehn and to composer Leonard Rosenman, who more than fills the shoes of Jerry Goldsmith in providing an riveting score for the film.
Controversy has always centred around the film's ending more than any other feature of it. Those who critisise it miss the point - this was intended to be the LAST apes film, and although producer Arthur Jacobs kept his mind open for a possible 3rd film, it was felt that another movie set in a post-apocalyptic ape ruled world would just be ''flogging a dead horse''. One of the greatest features of these films, started by the Statue of Liberty sequence in the original, was that they all contained ''shocker'' endings, designed to send a shiver down the spine of the cinema audience. Beneath is so final, so clear cut, so definate in its climax - and is successful BECAUSE of this. 'Escape' featured the talking baby Chimp at its end. 'Conquest' featured the apes take over in its ultimate moments.
Beneath suffers less than the other films from having an inadiquate budget, but is hindred by Chuck Heston's absence. The fact that James Franciscus looks so similar is slightly irritating. But considering the storyline, script, locations, music and great shocker ending, this film is a definate 'hit' for the series.
And as for Linda Harrison........well, let's just say I've kept the best to the last.....
The film is hindered by having less subtle commentary to make than its predecessor did (the Vietnam overtones are hard to miss), but none the less the excellent Cathedral sequence - ''the almighty bomb, who created heaven under earth'' - is masterfully orchestrated. A credit to Dehn and to composer Leonard Rosenman, who more than fills the shoes of Jerry Goldsmith in providing an riveting score for the film.
Controversy has always centred around the film's ending more than any other feature of it. Those who critisise it miss the point - this was intended to be the LAST apes film, and although producer Arthur Jacobs kept his mind open for a possible 3rd film, it was felt that another movie set in a post-apocalyptic ape ruled world would just be ''flogging a dead horse''. One of the greatest features of these films, started by the Statue of Liberty sequence in the original, was that they all contained ''shocker'' endings, designed to send a shiver down the spine of the cinema audience. Beneath is so final, so clear cut, so definate in its climax - and is successful BECAUSE of this. 'Escape' featured the talking baby Chimp at its end. 'Conquest' featured the apes take over in its ultimate moments.
Beneath suffers less than the other films from having an inadiquate budget, but is hindred by Chuck Heston's absence. The fact that James Franciscus looks so similar is slightly irritating. But considering the storyline, script, locations, music and great shocker ending, this film is a definate 'hit' for the series.
And as for Linda Harrison........well, let's just say I've kept the best to the last.....