One of the most interesting cinematic franchises of the last fifty years, Planet of the Apes makes a vibrant and fascinating return in Rise of the Planet of the Apes, which classes itself as a reboot while holding true to the spirit of the original movies and charting its own modern day course.
Rupert Wyatt’s reimagining charts a very similar course to Conquest of the Planet of the Apes from 1972, the fourth of the original five film series after Charlton Heston famously shouted down those “damn dirty apes” in 1968’s seminal Planet of the Apes. In Conquest, the world’s pets have been destroyed by a lethal virus in the early 1990’s (here the series’ past, but the filmmakers’ future), which leads humans to begin domesticating apes as a replacement. The film even features an ape named Caesar leading a rebellion and the shouting of the word “NO!” as the first human word uttered by an ape.
Pointedly, Rise is not a remake of Conquest. It seeks to take certain essential pieces of that film’s DNA and place them in a contemporary context. This was deemed a necessary step after the critical and commercial failure of the first attempt to reimagine the franchise in Tim Burton’s awfully misjudged 2001 remake, Planet of the Apes, which sought to re-tell the Charlton Heston film for a new audience. Burton should have known better but his film fell in that strange nether zone of Hollywood blockbusters which was the early 2000’s, in which big budget cinema seemed locked in an awkward transition between brainless 90’s fare, the advent of popularised CGI, and a dearth of talented filmmakers wielding serious cinematic money.
A lot changed in 2005 & 2006 with both Batman Begins and Casino Royale, respectively. Those films, one made by an auteur and the other a stalwart, helped fashion the blockbuster landscape into one where talented filmmakers seemed to have a handle on quality scripting as well as major set pieces and computer generated effects. Rise took a big cue from Begins especially in quite how Wyatt, fresh of the low-budget but critically impressive The Escapist (2008), imagined reimagining the Apes universe and grounding the concept in more of a natural storytelling perspective than a high-concept vision of the like Burton tried and failed to achieve.