After a flying saucer lands in Washington, D.C., the United States Army quickly surrounds it. A humanoid emerges and announces that he comes "in peace and with good will". When he unexpectedly opens a small device, he is shot and wounded by a nervous soldier. A tall robot emerges from the saucer and quickly disintegrates the soldiers' weapons. The alien orders the robot, Gort, to desist. He explains that the now-broken device was a gift for the President of the United States that would have enabled him "to study life on the other planets".
The alien, Klaatu, is taken to Walter Reed Army Hospital. After surgery, he uses a salve to quickly heal his wound. The Army is unable to enter the saucer. Gort stands outside, silent and unmoving.
Klaatu tells the President's secretary, Mr. Harley, that he has a message that must be delivered to all the world's leaders simultaneously. Harley tells him that in the current world situation, this is impossible. Klaatu proposes that he spend time among ordinary humans to better understand their "unreasoning suspicions and attitudes". Harley rejects the proposal, and Klaatu remains locked in his hospital room.
Klaatu escapes and stays in a boarding house using the name Mr. Carpenter, adopted from a dry cleaner's suit tag. Among the residents are young widow Helen Benson and her son Bobby. Helen's boyfriend, Tom Stevens, becomes jealous of the stranger.
Bobby takes Klaatu on a tour of the city, including a visit to his father's grave in Arlington National Cemetery; Klaatu learns that most of the dead are soldiers killed in wars. They also visit the Lincoln Memorial. When Klaatu asks Bobby, "Who is the greatest living person?", Bobby suggests Professor Barnhardt. They visit the scientist's home, but he is out; Klaatu sees that Barnhardt's blackboard is covered with equations (an attempt to solve the three-body problem). Klaatu adds to them and, after being discovered by the housekeeper, leaves his contact information.
That evening, a government agent escorts Klaatu to Barnhardt. Klaatu tells Barnhardt that the people of other planets are concerned about Earth's possible aggression, now that humanity has developed rockets and rudimentary atomic power. He states that if his message is ignored, Earth could be "eliminated". Barnhardt agrees to gather scientists from around the world at the saucer; he also suggests that Klaatu peacefully demonstrate the power he possesses beforehand.
Klaatu returns to his spaceship, unaware that Bobby is following him. Bobby watches as Gort knocks out two soldiers so Klaatu can reenter the saucer. Bobby runs home and tells Helen. She does not believe him, but Tom is suspicious.
The next day, for half an hour, starting at 12 noon east coast time, all electrical equipment on Earth ceases to function,[7] except for essential services, such as hospitals and aircraft in flight.
Klaatu learns that Bobby watched him the previous night. He visits Helen at work, reveals his mission, and asks that she not betray him. Helen asks Tom to keep Klaatu's identity secret, but he refuses to listen, already in the process of alerting the military.
Helen and Klaatu rush to Barnhardt's home. They hope that Barnhardt can hide Klaatu until the meeting that evening. Klaatu tells Helen that if anything should happen to him, she must go to Gort and say, "Klaatu barada nikto."
The Army tracks them in their taxi. Klaatu is shot and killed, and his body is moved to a nearby police station cell. Helen rushes to the saucer and says Klaatu's phrase to Gort. Gort retrieves Klaatu's body, and revives him inside the saucer, though Klaatu tells Helen that his revival is only temporary.
Helen departs the spaceship with Klaatu and Gort, joining Dr. Barnhart among the gathered scientists. Klaatu tells the scientists gathered outside that an interplanetary organization has created a police force of invincible robots like Gort. "In matters of aggression, we have given them absolute power over us". Klaatu concludes, "Your choice is simple: join us and live in peace, or pursue your present course and face obliteration. We shall be waiting for your answer." Klaatu and Gort depart in the saucer.
In a 1995 interview, producer Julian Blaustein explained that Joseph Breen, the film censor installed by the Motion Picture Association of America at the Twentieth Century Fox studios, balked at the portrayal of Klaatu's resurrection and limitless power.[9] At the behest of the MPAA, a line was written into the script; when Helen asks Klaatu whether Gort has unlimited power over life and death, Klaatu explains that Gort has only revived him temporarily: "that power is reserved to the Almighty Spirit."[9][11] Of the elements that he added to Klaatu's character, screenwriter Edmund North said, "It was my private little joke. I never discussed this angle with Blaustein or Wise because I didn't want it expressed. I had originally hoped that the Christ comparison would be subliminal."[12]
That the question even came up in an interview is proof enough that such comparisons did not remain subliminal, but they are subtle enough so that it is not immediately obvious to all viewers that those elements were intended to compare Klaatu to Jesus Christ.[13] When Klaatu escapes from the hospital, he steals the clothing of a Maj. John Carpenter, giving him the initials J.C.. Carpentry was the profession the Bible says Jesus learned from Joseph, his father. His previous actions are misunderstood, and he eventually is killed by military authority. At the end of the film, Klaatu, having been restored to life, ascends into the (night) sky. Other parallels include: his coming to Earth with a message for all mankind; his befriending of a child; possessing wisdom and specialized scientific knowledge beyond any human being; and people being given a sign of his power. At the very start of the film, one of the British radar technicians, upon observing the speed of Klaatu's spaceship, is heard to exclaim, "Holy Christmas"![14]
Production
Development
Producer Julian Blaustein originally set out to make a film under the working titles of Farewell to the Master and Journey to the World which illustrated the fear and suspicion that characterized the early Cold War and Atomic Age. He reviewed more than two hundred science fiction short stories and novels in search of a storyline that could be used because this film genre was well suited for a metaphorical discussion of such grave issues. Studio head Darryl F. Zanuck gave the go-ahead for this project, and Blaustein hired Edmund North to write the screenplay based on elements from Harry Bates's 1940 short story "Farewell to the Master". The revised final screenplay was completed on February 21, 1951. Science fiction writer Raymond F. Jones worked as an uncredited adviser.[15]
Pre-production
The set was designed by Thomas Little and Claude Carpenter. They collaborated with the architect Frank Lloyd Wright for the design of the spacecraft. Paul Laffoley has suggested that the futuristic interior was inspired by Wright's Johnson Wax Headquarters, completed in 1936. Laffoley quotes Wright and his attempt in designing the exterior: "...to imitate an experimental substance that I have heard about which acts like living tissue. If cut, the rift would appear to heal like a wound, leaving a continuous surface with no scar."[16]
Filming
Principal outdoor photography was shot on the 20th Century Fox sound stages and on its studio back lot (now located in Century City, California), with a second unit shooting background and other scenes in Washington, D.C., and at Fort George G. Meade in Maryland. The shooting schedule was from April 9 to May 23, 1951, and the primary actors never traveled to Washington to make the film. Director Robert Wise indicated in the DVD commentary that the United States Department of Defense refused participation in the film based on a reading of the script. The military equipment shown, however, came from the 3rd Armored Cavalry Regiment then stationed at Fort Meade which supplied the vehicles, equipment, and soldiers for the segments depicting Army operations.[17] One of the film's tanks bears the "Brave Rifles" insignia of the 3rd Armored Cavalry Regiment.[18]
The robot Gort was played by Lock Martin, who worked as an usher at Grauman's Chinese Theatre and stood seven feet and seven inches tall. Not accustomed to a confining, heat-inducing costume, he worked carefully while wearing the two oversized, laced up, foamed neoprene suits for the illusion of a seamless metallic Gort. Wise decided Martin's on-screen shooting time would be limited to half-hour intervals, so Martin, with his generally weak constitution, would face no more than minor discomfort. These segments, in turn, were then edited together into the film's final print.[19]
In a commentary track on DVD, interviewed by fellow director Nicholas Meyer, Wise said he wanted the film to appear as realistic and believable as possible, to push the core message against armed conflict in the real world. The original title is "The Day the World Stops". Blaustein said his aim was to promote a "strong United Nations".[20]
Herrmann's score
The music score was composed by Bernard Herrmann in August 1951, and is the first film score he composed after moving from New York to Hollywood. Herrmann chose unusual instrumentation for the film: violin, cello, and bass (all three electric), two theremin electronic instruments (played by Dr. Samuel Hoffman and Paul Shure), two Hammond organs, Fox studio's Wurlitzer organ, three vibraphones, two glockenspiels, marimba, tam-tam, two bass drums, three sets of timpani, two pianos, celesta, two harps, one horn, three trumpets, three trombones, and four tubas.[21] Herrmann's advances in film scoring included Unison organs, tubas, piano, and bass drum, staggered tritone movement, and glissando in theremins, as well as exploitation of the dissonance between D and E-flat and experimentation with unusual overdubbing and tape-reversal techniques. In using the theremin, Herrmann made an early foray into electronic music, one year before Karlheinz Stockhausen and three years before Edgard Varèse.[22]
20th Century Fox later reused the Bernard Herrmann title theme in the original pilot episode of Irwin Allen's 1965 TV series Lost in Space; the music was also used extensively in Allen's Voyage to the Bottom of the Sea TV series in various episodes. Danny Elfman noted The Day the Earth Stood Still's score inspired his interest in film composing, and made him a fan of Herrmann.[23]
Track listing
No.
Title
Length
1.
"Twentieth Century Fox Fanfare"
0:12
2.
"Prelude / Outer Space/Radar"
3:45
3.
"Danger"
0:24
4.
"Klaatu"
2:15
5.
"Gort / The Visor / The Telescope"
2:23
6.
"Escape"
0:55
7.
"Solar Diamonds" (not used in film)
1:04
8.
"Arlington"
1:08
9.
"Lincoln Memorial"
1:27
10.
"Nocturne / The Flashlight / The Robot / Space Control"
5:58
11.
"The Elevator / Magnetic Pull / The Study / The Conference / The Jewelry Store"
4:32
12.
"Panic"
0:42
13.
"The Glowing / Alone / Gort's Rage / Nikto / The Captive / Terror"
5:11
14.
"The Prison"
1:42
15.
"Rebirth"
1:38
16.
"Departure"
0:52
17.
"Farewell"
0:32
18.
"Finale"
0:30
Critical reception
Variety praised the documentary style: "the yarn is told interestingly enough and imbued with sufficient science-fiction lures and suspense so that only seldom does its moralistic wordiness get in the way... Cast, although secondary to the story, works well".[20][24]Harrison's Reports wrote: "Very good! It is by far the best of the science-fiction pictures yet produced. It holds one's interest undiminished from start to finish and, although the theme is admittedly fantastic, one is made to feel as if he is seeing a real-life occurrence because of the expert handling of the subject matter and the extremely fine special effects work."[25] The Los Angeles Times praised the film's seriousness, though it also found "certain subversive elements".[20]Bosley Crowther of The New York Times dismissed the film as "tepid entertainment" and described Gort as "oddly unmenacing".[26]
The Day the Earth Stood Still was moderately successful when released, accruing US$1,850,000 in distributors' U.S. and Canadian rentals, making it the year's 52nd biggest earner.[27] "Rentals" refers to the distributor/studio's share of the box office gross, which, according to Gebert, is roughly half of the money generated by ticket sales.[27]
The Day the Earth Stood Still earned more plaudits in other countries: the Hollywood Foreign Press Association gave the filmmakers a special Golden Globe Award for "promoting international understanding". Bernard Herrmann's score also received a nomination at the Golden Globes.[28] The French magazine Cahiers du Cinéma was impressed, its contributor Pierre Kast called it "almost literally stunning" and praised its "moral relativism".[20]
Legacy
The Day the Earth Stood Still received recognition from the American Film Institute and was selected for preservation in the United States Library of Congress's National Film Registry. In 2001, it was ranked number 82 on 100 Years... 100 Thrills, a list of America's most heart-pounding films.[29] It placed number 67 on a similar list 100 Years... 100 Cheers, a list of America's most inspiring films.[30] In June 2008, the American Film Institute revealed its "10 Top 10"–the best ten films in ten "classic" American film genres–after polling more than 1,500 people from the creative community. The Day the Earth Stood Still was acknowledged as the fifth best film in the science fiction genre.[31] In 2004, the film was selected by The New York Times as one of The Best 1000 Movies Ever Made.[32]
Ringo Starr brought the imagery of the film back into popular culture by using a modified scene of the ship and Klaatu for the cover of his 1974 album Goodnight Vienna. Lou Cannon and Colin Powell believed the film inspired Ronald Reagan to discuss uniting against an alien invasion when meeting Mikhail Gorbachev in 1985. Two years later, Reagan told the United Nations, "I occasionally think how quickly our differences worldwide would vanish if we were facing an alien threat from outside this world."[20] The film is playing in the opening scene of the first episode of Star Trek: Strange New Worlds when Captain Pike refers to it as a "classic".[33]
The Day the Earth Stood Still is now considered one of the best films released in 1951.[34][35]The Day the Earth Stood Still is in Arthur C. Clarke's list of the 12 best science fiction films of all time.[36] The film holds a 95% rating at the review aggregator website Rotten Tomatoes based on 57 reviews, with an average rating of 8.10/10. The consensus states, "Socially minded yet entertaining, The Day the Earth Stood Still imparts its moral of peace and understanding without didacticism."[37]Tony Magistrale describes the film as one of the best examples of early techno-horror.[38]
Adaptations
The film was dramatized as a radio play on January 4, 1954, for the Lux Radio Theatre; Michael Rennie reprised his lead role as Klaatu with actress Jean Peters as Helen Benson.[39] This production was later re-broadcast on the Hollywood Radio Theater, the re-titled Lux Radio Theatre, which aired on the Armed Forces Radio Service.[40]
Since the release of the film, the phrase "Klaatu barada nikto" has appeared repeatedly in fiction and in popular culture. The Robot Hall of Fame described it as "one of the most famous commands in science fiction",[42] and Frederick S. Clarke of Cinefantastique called it in 1970 "the most famous phrase ever spoken by an extraterrestrial".[43]
Patricia Neal had a problem speaking the phrase, though she was proud of the film overall. "I do think it's the best science fiction film ever made, although I admit that I sometimes had a difficult time keeping a straight face. Michael would patiently watch me bite my lips to avoid giggling and ask, with true British reserve, 'Is that the way you intend to play it?'"[44]
Edmund H. North, who wrote The Day the Earth Stood Still, also created the alien language used in the film, including the iconic phrase "Klaatu barada nikto." The official spelling for the phrase comes directly from the script and provides insight as to its proper pronunciation. No translation was given in the film. Philosophy professor Aeon J. Skoble speculates the famous phrase is a "safe-word" which is part of a fail-safe feature used during diplomatic missions such as the one Klaatu and Gort make to Earth. With the use of the safe-word, Gort's deadly force can be deactivated in the event the robot is mistakenly triggered into a defensive posture. Skoble observes that the theme has evolved into a "staple of science fiction that the machines charged with protecting us from ourselves will misuse or abuse their power."[45]
Fantastic Films explored the meaning of "Klaatu barada nikto" in a 1978 article titled "The Language of Klaatu". The article, written by Tauna Le Marbe, who is listed as its "alien linguistics editor", attempts to translate all the alien words Klaatu used throughout the film.[46] In the article, the literal translation for Klaatu barada nikto was "Stop Barbarism (I have) death, bind" and the free translation was "I die, repair me, do not retaliate."[46]
The documentary Decoding "Klaatu Barada Nikto": Science Fiction as Metaphor examined the phrase "Klaatu barada nikto" with some of the people involved in the production of The Day the Earth Stood Still. Robert Wise, the director of the film, conveyed an account of Edmund North telling him, "Well, it's just something I kind of cooked up. I thought it sounded good."[47]Billy Gray, who played Bobby Benson in the film, said he believed the message was coming from Klaatu and that "Barada Nikto must mean... save Earth."[48]
Florence Blaustein, widow of the producer Julian Blaustein, said North had to pass a street called Baroda every day going to work and indicated "I think that's how that was born."[49] The film historian Steven Jay Rubin recalled an interview he had with North when he asked the question, "What is the direct translation of Klaatu Barada Nikto, and Edmund North said to me 'There's hope for Earth, if the scientists can be reached'."[50] Director Robert Wise clearly remembered the phrase for when he was awarded the American Film Institute's Lifetime Achievement Award in 1997, he ended his acceptance speech with the phrase: ""Klaatu barada nikto"", which tonight means: "Thank you from the bottom of my heart."
↑ Patricia Neal, who played Helen Benson, was only 12 years older than Billy Gray, who played her son.
↑ Actor Sam Jaffe, who played Professor Barnhardt, had an engineering degree and taught mathematics before turning to acting.[8]
Related Research Articles
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Hiram Gilmore "Harry" Bates III was an American science fiction editor and writer. His short story "Farewell to the Master" (1940) was the basis of the science fiction movie The Day the Earth Stood Still (1951).
"Klaatu barada nikto" is a phrase that originated in the 1951 science fiction film The Day the Earth Stood Still. The humanoid alien protagonist of the film, Klaatu, instructs Helen Benson that if any harm befalls him, she must say the phrase to the robot Gort.
Klaatu is a fictional humanoid alien character best known from his appearances in the 1951 science fiction film The Day the Earth Stood Still and its 2008 remake. The character of Klaatu gained popularity partly due to the iconic phrase "Klaatu barada nikto!" associated with the character.
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"Farewell to the Master" is a science fiction short story by American writer Harry Bates. It was first published in the October 1940 issue of Astounding Science Fiction on page 58. It provided the basis of the 1951 film The Day the Earth Stood Still and its 2008 remake. In 1973, the story was adapted by Marvel Comics for its Worlds Unknown series. According to Gizmodo, the 1973 adaptation was more faithful to the original story than was the 1951 film.
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The Day the Earth Stood Still is a 2008 American science fiction film serving as remake of the 1951 film of the same name, which, in turn, was based on the 1940 short story "Farewell to the Master"). Directed by Scott Derrickson from a screenplay by David Scarpa, it stars Keanu Reeves as Klaatu, an alien sent to try to change human behavior in an effort to save Earth from environmental degradation; this version replaces the Cold War-era theme of potential nuclear warfare with the contemporary issue of negative human impact on the environment. It co-stars Jennifer Connelly, Jaden Smith, John Cleese, Jon Hamm, and Kathy Bates.
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The Day the Earth Stood Still soundtrack (1951) was composed in July, and recorded in August 1951. It was Bernard Herrmann's first soundtrack after he moved from New York to Hollywood. Herrmann chose unusual instrumentation for the film including violin, cello, and bass, two theremin electronic instruments, two Hammond organs, a large studio electric organ, three vibraphones, two glockenspiels, two pianos, two harps, three trumpets, three trombones, four tubas, and extensive percussion including cymbals and tam-tam. Unusual overdubbing and tape-reversal techniques were used, as well. 20th Century Fox later reused the Herrmann title theme in the original pilot episode for Irwin Allen's 1965 TV series Lost in Space. Danny Elfman noted The Day the Earth Stood Still's score inspired his interest in film composing, and made him a fan of Herrmann.
↑ North, Edmund H. (February 21, 1951). "The Day the Earth Stood Still". dailyscript.com. Archived from the original on September 1, 2006. Klaatu: You see -- the electricity's been neutralized -- all over the world.
↑ Haspel, Paul. "Future Shock on the National Mall." Journal of Popular Film & Television, Vol. 34, Issue 2, Summer 2006, pp. 62–71. ISSN0195-6051.
↑ "DVD: 'The Day the Earth Stood Still' Shooting Script." Still Galleries, [Fox Video 20th Century Fox Home Entertainment]. Retrieved: February 1, 2015.
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Gianos, Phillip L. Politics and Politicians in American Film. Portsmouth, New Hampshire: Greenwood Publishing Group, 1998. ISBN0-275-96071-4.
Holloway, David and John Beck. American Visual Cultures. London: Continuum International Publishing Group, 2005. ISBN0-8264-6485-8.
Matthews, Melvin E. Hostile Aliens, Hollywood and Today's News: 1950s Science Fiction Films and 9/11. New York: Algora Publishing, 2007. ISBN0-87586-497-X.
Shermer, Michael. The Borderlands of Science: Where Sense Meets Nonsense. New York: Oxford University Press, 2001. ISBN0-19-514326-4.
Skoble, Aeon J. "Technology and Ethics in The Day the Earth Stood Still". In Sanders, Steven M. The Philosophy of Science Fiction Film. Lexington, Kentucky: University Press of Kentucky, 2007. ISBN0-8131-2472-7.
Solomon, Aubrey. Twentieth Century Fox: A Corporate and Financial History. Lanham, Maryland: Scarecrow Press, 1989. ISBN978-0-8108-4244-1.
Warren, Bill. Keep Watching the Skies: American Science Fiction Movies of the 1950s, Vol I: 1950–1957. Jefferson, North Carolina: McFarland & Company, 1982. ISBN0-89950-032-3.
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