Soylent Green (1973)

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Soylent Green (1973)

Post  BoG on Fri Mar 12, 2010 12:30 am



WHAT IS THE SECRET OF SOYLENT GREEN?
I've always liked this extrapolation on future events, predicting that by the year of this film, 2022, New York City would have about 40 million people. OK, so it looks like they went a bit overboard. But, I like all the details of future life presented here, all associated with the theme of overpopulation. The film has many moments, such as the scarcity of food we currently take for granted and the lack of living accomodations, that present a compelling picture overall. We see all this through the day-to-day existence of the main characters: Heston as a cop; Robinson as his 'book'; Taylor-Young as 'furniture' (note how some people are referred to as things).

I remember when I saw previews of this film as a kid, in the early seventies; the scenes were of those giant scoops picking up crowds of people and tossing them in the backs of special trucks. Wow, I thought, that looks wild. Indeed, I like the entire atmosphere of this film; the city swelters under the long-predicted greenhouse effect, so everyone sweats.
There's not much of that futuristic technology, such as flying cars, with the have-nots contenting themselves with hand-me-downs from past decades (the quaint little TV set in Heston's apartment). There's none of that unrealistic futurism where, as if, one day, all the super-advanced stuff came about magically. This film hasn't dated; at least, not yet.
This was the final film of Edward G. Robinson and maybe the best thing about this film is his and Heston's performances, in a father-son relationship. A couple of years ago, I noted some comments on IMDb by (presumably) younger posters asking if these two characters were in a homosexual relationship. I couldn't understand where they came up with that idea. Then, when I re-watched this film, I realized what scene prompted such juvenile speculation: early in the film, Heston's character is leaving the apartment and Robinson gently pats Heston's chin. It is, of course, a fatherly gesture, at a time when men were not afraid to show signs of affection, especially older gentlemen such as Robinson, who easily contributed an Oscar-worthy performance here. BoG's Score: 7.5 out of 10


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Behind the Scenes of Soylent

Post  BoG on Thu Nov 20, 2014 7:07 pm



Unused long shot / matte painting of the city:
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