Acting, creativity make this movie rule the planet

  Twentieth Cenutry Fox Thade (Tim Roth),
the military leader of the apes, subdues Leo (Mark
Wahlberg).

By David Holmberg
Daily Bruin Staff

At last, something to go ape about this summer.

Unlike the rather cliche opening, Tim Burton’s new version
of the classic “Planet of the Apes” is unexpectedly
unique and characteristically bizarre, while still remaining true
to the original science fiction fantasy.

Director Tim Burton, who is perhaps most famous for
re-envisioning the “Batman” franchise, gives a
surprisingly fresh sense of life to the rather tired
“Ape” series. The new film is clearly not a remake, but
rather a retelling of the now-classic tale of science fiction role
reversal.

Regardless of what else may be said about Burton, his films
always succeed in creating a stylistic world that previously only
existed in his mind. His typically gritty and dark interpretation
of old tales (“Batman” and “Sleepy Hollow”)
is present again on this monkey world, and the result is extremely
effective.

Gone are the campy elements of the original $6 million feature,
and Burton looks to have used every penny of his $100 million
budget wisely. The film is slick and well designed, while still
resting on a relatively firm plot.

The story follows the original to a certain degree, with a few
twists and additions to liven it up.

After chasing a test monkey into an electromagnetic storm in the
year 2029, astronaut Leo Davidson (Mark Wahlberg) finds himself
crash landed on a planet where apes rule.

Burton’s film delivers surprisingly strong performances
all around.

Although viewers feel a sort of guilty longing for the scowling
Charlton Heston, Wahlberg plays the stranded astronaut
realistically enough. His acting goes much further than Heston ever
would have allowed, even delving into sensitive emotional territory
when he realizes he may have caused the whole situation.

In opposition to the rebellious Davidson is the ape General
Thade, played by the unrecognizable Tim Roth. His portrayal is
downright frightening, as he lashes and jumps wildly about in every
scene.

Decidedly more toned down, but no less recognizable beneath her
makeup, is Helena Bonham Carter as the sympathetic Ari, who helps
the human rebels escape, much as Kim Hunter’s Dr. Zira did
last time around. The fascinating concept of interspecies sexual
tension between Davidson and Ari is touched upon, but goes no
further.

In the group escaping with Davidson are Karubi, played by the
always grizzly Kris Kristofferson, and Estella Warren as Daena, who
has the amazing ability to remain stunningly radiant, even in rags
and dirt.

Not one to let a movie fall too deeply into itself, Burton adds
several small but wonderfully tasteful comedic moments to break the
seriousness.

Several lines are also humorously reminiscent of the original
“Planet of the Apes,” including one during a cameo by
Heston himself, who delivers his famous “Damn them, damn them
all to hell!” quote, only in slightly different
circumstances.

Most remarkable are the realistic portrayal of the apes,
particularly in their movements. They lumber and swagger about in
such a convincing display that it is impossible to imagine that
these human-like apes would move any other way.

Huge fans of the original series (are there any huge fans of the
original series?) should be well satisfied, given the fairly true
adherence to the first film’s fundamental story.

The principal story of human enslavement is still well intact,
in fact probably more so than in the original. The initial capture
and subsequent selling of the humans in the 2001 version feels more
closely based on the European entrapment of Africans hundreds of
years ago, especially when compared to the 1968 film.

The original “Planet of the Apes” was released in
1968 as a parable for the black and white tensions during the end
of the Civil Rights Movement, when race relations were still
strained.

Using the seeming absurdity of a white man forced to become a
slave to an advanced civilization of apes, the intent was to
likewise show the nonsense of discrimination based on color.

Given that the ape planet on which Wahlberg finds himself is a
different one from Heston’s, there is the problem of no
longer having the classic surprise ending when Heston sees the
Statue of Liberty and realizes that he is on earth, not some
foreign world.

So a new conclusion has been concocted, which granted is a
surprise, but feels exceedingly forced and unnecessary. It is more
of a gimmick than a meaningful plot point. The movie is satisfying
enough without the trick finale, and instead of it leaving the
audience stunned with disbelief as the original did, it provides
merely head-scratching confusion.

Despite the last minute faltering of Burton’s newest
creation, it is still a triumphant journey into his
characteristically revisionist style.

But be warned, this is not your parents’ “Planet of
the Apes.” It is a modernist re-interpretation of an inspired
concept. And thanks to deft acting, stylistic direction and the
help of modern technology, an admirable new chapter, or more
accurately a whole new volume, of the “Planet of the
Apes” saga has been created.