The Black Hole (1979)What mysteries and dangers dwell beyond the edge of the universe? The Black Hole (1979) is a science fiction movie about a team of astronauts aboard the exploratory spaceship called the "Palomino". As they approach a black hole, they discover the derelict remains of one of their predecessors, a massive vessel known at the "Cygnus". The crew of the "Palomino" discovers that the "Cygnus" boasts at least one survivor--the brilliant (if arrogant) scientist, Dr. Hans Reinhardt (Maximilian Schell). But the crew of the "Palomino" is unprepared for the secrets that lurk in the darkest reaches of space.
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The Black Hole is a film that wears its inspiration on its sleeve. Released in 1979 by Buena Vista--the live-action film distribution branch of Walt Disney Studios at the time--the story of The Black Hole shares many similar narrative qualities and stylistic flourishes with films like 2001: A Space Odyssey, Forbidden Planet, and even Star Wars--aside from the fact that they all take place in space. The crew of the "Palomino" is led by Captain Dan Holland (Robert Forster), a generally stoic commander who doesn't flinch at heroics when the time is right, and whose serious demeanor resembles that of the astronauts of 2001; he also shares a charismatic stability found in Commander Adams of Forbidden Planet. Along with Dan is Dr. Kate McCrae (Yvette Mimieux), who discovers that her father died while in service aboard the "Cygnus". Kate shares a kind of telepathic connection with the ship's resident robot, called V.I.N.CENT. (Roddy McDowall), a far more jovial counterpoint to H.A.L. of 2001, who floats about with magnetized wheels and googly eyes--a bit like R2-D2 of Star Wars, except that V.I.N.CENT. speaks in aphorisms in moments of distress. Since Kate shares an empathic connection with non-human life forms, she is also reminiscent of Altaira of Forbidden Planet. Complimenting the crew of the "Palomino" are scientists, Dr. Alex Durant (Anthony Perkins) and Harry Booth (Ernest Borgnine), as well the hot-headed rookie pilot, Lieutenant Charlie Pizer (Joseph Bottoms). Charlie's bravado and youth give him elements of both Luke Skywalker and Han Solo of Star Wars, whereas Alex and Harry have more in common with Spock and "Scotty" from "Star Trek", respectively. Not least of all, Dr. Reinhardt is a parallel to Dr. Morbius of Forbidden Planet--both are aloof and isolated geniuses suffering from degrees of megalomania and paranoia in spite of their scientific passions.
Dr. Reinhardt's brilliance has allowed him to survive in virtual isolation aboard the "Cygnus" for nearly twenty years, along with the humanoid robots he has built to maintain the ship, as he prepares for his daring voyage into the black hole--a metaphorical "heart of darkness". Even from his introduction in his command chair cloaked in shadows, Reinhardt has echoes of Colonel Kurtz from Apocalypse Now. The ominous and even menacing quality of Dr. Reinhardt and his robot army which goosestep through the halls of the "Cygnus"--led by the belligerent and deathly silent, Maximilian--evokes unmistakable associations with the tyranny of Nazi Germany; this element is accentuated by Schell's Germanic accent. (This genocidal association is revisited when the crew of the "Palomino" discovers what truly became of the crew of the "Cygnus".) While the characters of The Black Hole are a pastiche born from these assorted science fiction classics, the film also emulates scenes from those movies, sometimes almost in a shot-for-shot way. Consider the "Cygnus" as a spacecraft on the edge of the greatest mystery in the universe--the eponymous black hole--and comparisons become evident between the quest for enlightenment and ascension at the core of 2001 and the similar quest of Dr. Reinhardt's in The Black Hole.
From the start of The Black Hole, it is clear that the film was designed to be a big-budget adventure through the stars, and to that end, it uses a formula--including an ensemble cast of excellent actors, as well as a strong opening with a multitude of vivid special effects, accompanied by a powerful musical score. The Black Hole also boasts an overture, a hallmark of cinematic epics, although this film would be one of the last to do so. This formulaic approach to engineering a sure-fire moneymaker in the theaters has remained a mainstay for films produced by Disney, continuing today with their live-action remakes of their animated classics as well as the films of the Marvel Cinematic Universe (now under Disney's umbrella). What is unusual, however, is that like other Buena Vista films released in the 1970s, The Black Hole often journeys into creepy territory, and goes a bit darker than what some audiences have come to expect from Disney films. For example, as the "Palomino" approaches the presumed ghost ship that is the "Cygnus", they shine their "microlight" on the vessel, illuminating the craft with all the warmth of a crime scene. Similarly, early in The Black Hole, the crew discusses what might lurk beyond the black hole--what they call the most "destructive force in the universe". They allude to it being like the afterlife--specifically a place like Hell. When the time comes that the audience experiences the inside of the black hole, it is depicted in a metaphysical way, one which largely resembles the "stargate" sequence from 2001--it even culminates in a shot of a planet (presumably Earth), mirroring the opening of Kubrick's film. There is also an implication that the black hole is linked to our concept of Hell--a lake of unending fire where the damned are stewarded to their doom with an impassive red devil looking on. The idea that these tears in space and time are more dangerous than mere "wormholes" is something explored in horror-inspired scifi, including later films like Event Horizon. Even with these sinister implications, The Black Hole borrows more from the kind of pulp adventure stories which influenced and made films like Star Wars such a success; the final act of The Black Hole is almost entirely composed of laser blaster shootouts between surviving members of the "Palomino", and Reinhardt's robotic goon squad. The Black Hole sits squarely in the realm of scifi fantasy, so look for convincing depictions of astrophysics elsewhere--just like a visit to "Space Mountain" at Disney World, it's better to sit back and enjoy the ride.
Recommended for: Fans of a nostalgic trek through the stars via a rare example of a "dark" Disney adventure movie from the Seventies. Although unquestionably derivative, there is a charm to The Black Hole in making comparisons to the films that inspired it.
Dr. Reinhardt's brilliance has allowed him to survive in virtual isolation aboard the "Cygnus" for nearly twenty years, along with the humanoid robots he has built to maintain the ship, as he prepares for his daring voyage into the black hole--a metaphorical "heart of darkness". Even from his introduction in his command chair cloaked in shadows, Reinhardt has echoes of Colonel Kurtz from Apocalypse Now. The ominous and even menacing quality of Dr. Reinhardt and his robot army which goosestep through the halls of the "Cygnus"--led by the belligerent and deathly silent, Maximilian--evokes unmistakable associations with the tyranny of Nazi Germany; this element is accentuated by Schell's Germanic accent. (This genocidal association is revisited when the crew of the "Palomino" discovers what truly became of the crew of the "Cygnus".) While the characters of The Black Hole are a pastiche born from these assorted science fiction classics, the film also emulates scenes from those movies, sometimes almost in a shot-for-shot way. Consider the "Cygnus" as a spacecraft on the edge of the greatest mystery in the universe--the eponymous black hole--and comparisons become evident between the quest for enlightenment and ascension at the core of 2001 and the similar quest of Dr. Reinhardt's in The Black Hole.
From the start of The Black Hole, it is clear that the film was designed to be a big-budget adventure through the stars, and to that end, it uses a formula--including an ensemble cast of excellent actors, as well as a strong opening with a multitude of vivid special effects, accompanied by a powerful musical score. The Black Hole also boasts an overture, a hallmark of cinematic epics, although this film would be one of the last to do so. This formulaic approach to engineering a sure-fire moneymaker in the theaters has remained a mainstay for films produced by Disney, continuing today with their live-action remakes of their animated classics as well as the films of the Marvel Cinematic Universe (now under Disney's umbrella). What is unusual, however, is that like other Buena Vista films released in the 1970s, The Black Hole often journeys into creepy territory, and goes a bit darker than what some audiences have come to expect from Disney films. For example, as the "Palomino" approaches the presumed ghost ship that is the "Cygnus", they shine their "microlight" on the vessel, illuminating the craft with all the warmth of a crime scene. Similarly, early in The Black Hole, the crew discusses what might lurk beyond the black hole--what they call the most "destructive force in the universe". They allude to it being like the afterlife--specifically a place like Hell. When the time comes that the audience experiences the inside of the black hole, it is depicted in a metaphysical way, one which largely resembles the "stargate" sequence from 2001--it even culminates in a shot of a planet (presumably Earth), mirroring the opening of Kubrick's film. There is also an implication that the black hole is linked to our concept of Hell--a lake of unending fire where the damned are stewarded to their doom with an impassive red devil looking on. The idea that these tears in space and time are more dangerous than mere "wormholes" is something explored in horror-inspired scifi, including later films like Event Horizon. Even with these sinister implications, The Black Hole borrows more from the kind of pulp adventure stories which influenced and made films like Star Wars such a success; the final act of The Black Hole is almost entirely composed of laser blaster shootouts between surviving members of the "Palomino", and Reinhardt's robotic goon squad. The Black Hole sits squarely in the realm of scifi fantasy, so look for convincing depictions of astrophysics elsewhere--just like a visit to "Space Mountain" at Disney World, it's better to sit back and enjoy the ride.
Recommended for: Fans of a nostalgic trek through the stars via a rare example of a "dark" Disney adventure movie from the Seventies. Although unquestionably derivative, there is a charm to The Black Hole in making comparisons to the films that inspired it.