Skewed Perspectives
The opening sequence of the movie in which the newly crash-landed astronauts march through what will eventually be described memorably as “the Forbidden Zone” is dominated by markedly different camera angles and skewed perspectives than the directorial choices made once Taylor manages to get at least a little footing. A gradual balancing out occurs that takes viewer from the vertiginous cinematography of the crash landing through to the hesitant camera movement and placement as a means of reflecting the time and effort it takes for Taylor to find that footing. The planet of the apes is referred to several times as a world that is upside down for Taylor and the skewed camera perspectives is a cinematographic punctuation of that idea through brilliant manipulation of imagery.
Atonal Score
Although you may occasionally come across some music fans today who will disagree, it is generally agreed that the score for Planet of the Apes is atonal; in fact, it stands as one of the first atonal soundtracks to ever achieve massive acceptance without being considered too “experimental” or even verging into outright discordance. Jerry Goldsmith’s Oscar-nominated score features a main theme constructed around an 8 note tone row that essentially saves it from being considered purely avant garde, but his atonal composition and the introduction of the odd instrument or oddly used traditional instrument works alongside the visual imagery to contribute to that feeling of the perspective being skewed, but not entirely unfamiliar. Although he doesn’t realize why until the end, Taylor seems to feel perfectly at home on the planet. No dialogue is given over to explain why the planet seems to be a mirror of earth; it is just accepted that the planet seems like home but isn’t quite home. The atonality uses recognizable notes, but put together in a way that is not quite familiar. Music as imagery. Another great cinematic strength of the film.
Three Wise Orangutans?
During the tribunal—or kangaroo court, if you will—at which Taylor is dragged and forced to stand mute and naked before the judgment of the orangutans, a familiar image is recreated by the three judges as the camera lingers over them for a just a few second. The three orangutans place their hands over their ears, mouth and eyes to recreate the triptych of monkeys under which is usually found the proverbial slogan "See No Evil, Hear No Evil, Speak No Evil.” This familiar pictorial maxim is layered with a sense of irony in the fact that the orangutans are portrayed as the philosopher-kings of ape society, yet here they strike a pose that is directly attuned to their unwillingness to believe anything that Taylor is saying. Generally speaking, the monkey statue is directed toward an uneducated sort that wants to maintain the status quo by shutting out anything new and viewing as an evil influence. Ironically, it is that part of ape society looked to as being at the intellectual zenith of their society that is reflecting the desire of the ignoramus to remain deaf, dumb and blind to knowledge.
Statue of Liberty
Of course, the most iconic image from Planet of the Apes is also the film’s biggest plot twist as well its most infamous reveal. The looming crown of the Statue of Liberty remains a mysterious image that could be a number of different things as Taylor and Nova ride their horse toward it on the beach. Once scene from Taylor’s perspective, the full dismembered head of the statue explains everything about why this weirdly familiar yet unfamiliar planet does seem familiar.
