Given the ravages of late capitalism - political corruption, economic disparity, environmental distraction, social alienation and, thus, strife - it’s little wonder that the image of the noble savage has experienced a resurgence in recent years as many citizens of the Western world, fearing more bad news from the future, yearn for a halt to the “progress” which they blame for the downward spiral of civilization. The idea of the “noble savage” - that human beings are naturally good and it’s only something in advanced society that makes them behave otherwise - traces its roots back to the early years of European colonization in the Americas and would reappear again and again across the centuries, in the works of Dryden, Rousseau and others, receding only with the rise of social-darwinist beliefs in the late nineteenth century (just as Latin American artists and scholars began to exalt their indigenous roots).
(“Ape-pocalypse Now” is spray-painted on a wall later in the film.) The collective way of life in which Caesar and the other chimps live, and the way they ride into battle on horseback wearing warpaint and throwing spears with an archer’s precision, brings to mind the Japanese samurai and the Comanche of the Great Plains, both of whom were outgunned by a highly industrialized, genocidal foe.
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The movie starts with an overt nod to the Vietnam War and the films it produced, namely Platoon and Apocalypse Now.
Maybe I read too much history and too many newspapers, but I kept seeing parallels between the apes’ planet and our own. In War for the Planet of the Apes, which premiered over the weekend, the shift is complete and the allegory heightened.
By the time we get to Rise of the Planet of the Apes, Rupert Wyatt’s 2011 stab at the story, now it’s the humans who are morally ambiguous while the apes are depicted as mostly good and innocent. As the first in a new era in race relations, Tim Burton’s 2001 remake presents the apes as much more morally ambiguous than they were in the original, with Helena Bonham Carter playing the role of a chimp human-rights advocate who opposes the hawkishness of the chimp leadership and aids the human rebellion. The new millennium has witnessed a shift in the Apes morality play. After the ruling apes take Taylor prisoner, a gorilla uses a fire hose on him much the way Bull Connor and the Birmingham police used fire hoses against civil rights protesters in the spring of 1963. The film is replete with allusions to major events of the 1960s and the period’s race relations in particular. “ Planet of the Apes debuted during the most turbulent year of the postwar period,” writes Robert Fleegler in a review of 2014’s Dawn of the Planet of the Apes. A movie about a future Earth where the human race has been conquered by evolved apes struck a chord amidst the racial turmoil of late-sixties America for obvious reasons. King’s assassin had watched the original Planet of the Apes, which premiered the day before James Earl Ray shot the civil rights leader down in 1968 - a theory reaffirmed as recently as Chris Rock’s 2014 comedy Top Five.
To this day it’s widely believed, though largely unsubstantiated, that Dr. Likewise, moviegoers in 2012 detected an anti-Occupy message in the final installment of the Dark Knight trilogy, forcing director Christopher Nolan to deny any veiled political message. Audiences in 1936 knew what Charlie Chaplin was saying when he had The Tramp run through the gears of a massive machine in Modern Times. (“ In risu veritas,” as Joyce put it.) Movies, on the other hand, have always been understood as disguised commentaries on life, often contemporary life the same goes for the theater, fountainhead of screens both silver and small.Īncient Athenians saw their leading figures as well as themselves in the satirical plays of Aristophanes, just as theatergoers attending the premiere of Arthur Miller’s The Crucible in 1953 couldn’t help but notice Judge John Hathorne’s resemblance to a certain junior senator from Wisconsin. Today it’s the comics who are arguably the most honest, if not the most truthful, though they’re still required to couch their social criticism in punchlines.
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In a society as free as ours, only artists are allowed to speak honestly.
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