The Time Machine (1960)


Rod Taylor (The Birds) plays H. George Wells, a scientist who, in the late 1800s, creates a time machine that takes him into the year 802,701, with startling results.

Reaction & Thoughts:

“If that machine can do what you say it can do, destroy it, George!”

Legendary and influential British author H. G. Wells was one of the true architects of the genre known as science fiction. A satirist, humanist, scholar, and visionary, Wells was also a conflicted man: a man of science who did not trust science, and was unsure of mankind’s ability to control its scientific discoveries.

Wells’s first novel, The Time Machine, has fascinated readers all around the world ever since its first publication in 1895. It should come as no surprise that independent producer-director George Pal (The Wonderful World of the Brothers Grimm and Seven Faces of Dr. Lao ), who was best known for his fantasy films and who had successfully adapted Wells’s The War of the Worlds in 1953, chose to bring this story to the big screen.

Wells’s novel has many elements that filmmaker Pal found very appealing: a fantastic tale that provides marvelous opportunities to showcase some cool visual ideas. Fortunately, this film adaptation of the classic novel retains much of Wells’s original ideas, with some fascinating changes to format the story to Pal’s sensibilities. It’s interesting to see Pal replace some of Wells’s pessimistic views with his own more optimistic ideas. The result is a fun film with a lot of energy and heart.

The Time Machine works on two levels: its playfulness will provide kids and undemanding viewers a fun time, and its social commentary and complicated moral statements will satisfy more demanding viewers. As Hollywood creates more and more mind-boggling, empty-headed sci-fi extravaganzas, this film looks like a refreshing alternative — it’s a stylish fantasy movie with tons of charm!

Beautifully designed and acted, with high production values, Pal’s Time Machine will always remain not only a testament to author Wells’s vivid imagination, but also a testimony to the creative power of visionary filmmaker Pal. Imagination and artistic visualization have found common ground here. I’m sure many modern viewers accustomed to CGIs will find some segments of the movie dated, even cheesy, but I would argue that’s part of the film’s enduring appeal.

The Time Machine is helped immeasurably by Rod Taylor’s unassuming movie-star persona. Taylor really makes “The Ride” enjoyable. The actor is surrounded by a wonderful cast that includes Alan Young (TV’s Mr. Ed), Sebastian Cabot (TV’s Family Affair), Tom Helmore (Vertigo) and Yvette Mimieux (The Black Hole).

The Oscar-winning visual effects (by Wah Chang, Tim Baar and Gene Warren) are beginning to show their age, but this is expected from almost all sci-fi films. Russell Garcia’s (Captain Newman, M.D.) invigorating music score still sounds great, though. The hideous “Morlocks” were designed by iconic make-up expert William Tuttle (Logan’s Run and Young Frankenstein). Paul C. Vogel (Go for Broke and Battleground) is responsible for the the beautiful color cinematography.

Conclusions & Final Thoughts:

The Time Machine debuted in movie theaters in August of 1960. Critics praised the film, and moviegoers made it a big box office hit. Now, more than fifty years later, I’m happy to say that the film is still lots of fun. This is one of George Pal’s best movies! Highly recommended! Remade in 2002. Color, 103 minutes, Not Rated.


5 responses to “The Time Machine (1960)

  1. Love this film my best friend turn me on to it and I loved it. re-vesited it a year ago and still love it. the visual effect were out of this world back then. I did not know they remade it. I am sticking with the original.

    Liked by 2 people

      • Remakes made for the wrong reasons usually are. But there was a graphic novel of The Time Machine (that I bought for my nephew along with another for The War Of The Worlds) that I felt was a true honour to both the 1960 classic and Wells’ original story. The cautionary note about our future taking a dangerously wrong turn if the leisure classes continue feeding of the working classes is still quite relevant. It was clearly influential for Fritz Lang’s Metropolis.

        Liked by 2 people

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s