An intelligent and engaging sci-fi detective story with a disturbing vision of the future.
Directed by Richard Fleischer
Screenplay by Stanley R. Greenberg
Based on “Make Room! Make Room!” by Harry Harrison
Produced by Walter Seltzer, Russell Thacher
Cinematography: Richard H. Kline
Edited by Samuel E. Beetley
Music by Fred Myrow
Distributed by Metro-Goldwyn-Mayer
Running time: 97 minutes
Box office: $3.6 million
Cast
Charlton Heston as Thorn
Leigh Taylor-Young as Shirl
Chuck Connors as Fielding
Joseph Cotten as Simonson
Brock Peters as Hatcher
Paula Kelly as Martha
Edward G. Robinson as Sol Roth
Stephen Young as Gilbert
Mike Henry as Kulozik
Lincoln Kilpatrick as The Priest
Roy Jenson as Donovan
Leonard Stone as Charles
Whit Bissell as Santini
Celia Lovsky as the Exchange Leader
Dick Van Patten as Usher #1
Trailer
• Population of New York City: 40.000.000
• Only the elite can afford spacious apartments, clean water and natural food at exorbitantly high prices. Their homes are gated and fortressed and they are provided with private security, bodyguards and slave / concubines referred to as "furniture."
• The bulk of the population has to contend with shortages of food, water and housing.
• NYPD detective Frank Thorn is tasked with investigating the murder of the wealthy and influential William R. Simonson, a board member of the Soylent Corporation.
• What is eventually uncovered could be more than Thorn or anyone else had bargained for…..
Read on for more......
(Spoilers follow below)
The film’s opening photo montage traces humanity’s progression from a far more simple way of living that with the rapid advance of progress, urbanization, industrialization and technology has become more hectic, frantic, congested and degraded.
After the film’s title and credits, we see detective Thorn watching a TV broadcast announcing, “First stage removal. Streets prohibited to non-permits in one hour. Streets prohibited to non-permits in one hour.”
The film’s opening photo montage traces humanity’s progression from a far more simple way of living that with the rapid advance of progress, urbanization, industrialization and technology has become more hectic, frantic, congested and degraded.
“When I was a kid, food was food.”
After the film’s title and credits, we see detective Thorn watching a TV broadcast announcing, “First stage removal. Streets prohibited to non-permits in one hour. Streets prohibited to non-permits in one hour.”
The presenter then moves to an interview with Governor Henry C. Santini, “brought to you by Soylent Red and Soylent Yellow, high-energy vegetable concentrates and new, delicious Soylent Green, the miracle food of high-energy plankton gathered from the oceans of the world.”
The Soylent Corporation produces the food supply of half of the world. It’s food product is in the form of "Soylent Red" and "Soylent Yellow" wafers. The new product, "Soylent Green" is a more nutritious variant, but is apparently in short supply and Tuesday has been designated as Soylent Green Day.
Frank Thorn is a 41 year old NYPD detective, born on October 24, 1980 who lives with his elderly friend Sol Roth in a small claustrophobic, rundown, wood-paneled apartment. Sol is an intelligent former college professor and police analyst (a "Book") who aided by his access to a library of reference materials, assists Thorn with his investigations.
Sol is part of an ever-dwindling number of people who lived in, remembers and cared bout a world when it had animals and real food and not the “tasteless, odorless crud” that passes for food in the 21st Century. Despite their feigned grumpiness towards each other, there is an evident feeling of real friendship, regard and respect between them.
According to Sol, all of the above compliments of “our scientific magicians.” Along with of course, the miracle of flickering light-bulbs and failing infrastructure. But Sol fueled by Soylent Green can resort to pedal power generated electricity – at least until his heart gives out…..
The scene shifts to a street meeting between someone named Gilbert and a Mr Donovan that involves a plan that is apparently criminal in nature, before shifting to the Chelsea Towers West apartment of a certain Mr. William R.Simonson, member of the huge international Soylent Corporation’s board of directors. It quickly becomes apparent that is a highly inequitable future society where the rich live in luxurious apartments with security and all that money can buy (including "furniture" and real food.) At the same time, the mass of the population live in poverty, are unemployed and take up residence in abandoned cars or apartment hallways. Unlike the rarefied atmosphere of the rich, the world of the masses consists of overpopulation and smog.
The Soylent Corporation produces the food supply of half of the world. It’s food product is in the form of "Soylent Red" and "Soylent Yellow" wafers. The new product, "Soylent Green" is a more nutritious variant, but is apparently in short supply and Tuesday has been designated as Soylent Green Day.
Frank Thorn is a 41 year old NYPD detective, born on October 24, 1980 who lives with his elderly friend Sol Roth in a small claustrophobic, rundown, wood-paneled apartment. Sol is an intelligent former college professor and police analyst (a "Book") who aided by his access to a library of reference materials, assists Thorn with his investigations.
Sol is part of an ever-dwindling number of people who lived in, remembers and cared bout a world when it had animals and real food and not the “tasteless, odorless crud” that passes for food in the 21st Century. Despite their feigned grumpiness towards each other, there is an evident feeling of real friendship, regard and respect between them.
Poisoned water
Polluted soil
“Decimated plant and animal life”
“A heat wave all year long”
“A greenhouse effect”
“Everything is burning up”
According to Sol, all of the above compliments of “our scientific magicians.” Along with of course, the miracle of flickering light-bulbs and failing infrastructure. But Sol fueled by Soylent Green can resort to pedal power generated electricity – at least until his heart gives out…..
“What was his full name?”
“William R. Simonson”
“Occupation?’
“Rich”
Detective Thorn is assigned to investigate the case and arrives at the apartment and questions Simonson's bodyguard, Tab Fielding and the "furniture" woman, Shirl who is rented together with the apartment. The following clues emerge:
• The scanners and alarms went out of order due to a problem with parts.
• Despite the best of unit scanners and alarms, it seems that “nothing works.”
• Insufficient number of guards.
• Simomson didn't put up much of a fight.
• Shirl and Fielding sent shopping.
• Jimmy marks on the door suggesting the work of an “amateur burglar.”
• A suggestion that Simonson “wanted to die.”
• No clear motive concerning Shirl as Simonson never hit or abused her and she hadn’t cheated on him.
The investigation surrounding Simonson’s murder is all very matter-of-fact, clinical and procedural. He’ll be marked “Simonson. Murder. Dispose” then signed for by Thorn before being “driven outside the city to a waste disposal plant” which is presently full up! No respects paid to the dead and no ceremony to honor their memory in this future world of 2022.
Death is just a process and for Thorn it also an opportunity to get his cut whether it be fresh food, booze, soap, towels and any of life’s luxuries that are denied to most people. After all, Thorn despite being a cop is little more than a "have-not" with a job and like everyone else is out to get what he can for himself.
“The damn thing won't run”
Thorn goes back home to enlist the help of Sol for the next assignment - William R. Simonson, using two volumes of Soylent Oceanographic Survey Report which he swiped off the shelves in Simonson’s apartment. Thorn is aware that he needs Sol’s expertise as much as Sol needs this work to keep him going and not throw in the towel by ‘going home.’ Despite his cynical and hard-edged demeanor, Thorn’s true nature and character can be judged by his regard for his old friend. For Thorn, Sol has not “had it” and it’s not time for him “to get another book.” Friendship and a person’s worth means something.
Sol is something of a conduit to a time long since past where books were published and “when there was paper and power and presses that worked.” A knowledge of one’s history provides a reference point for what takes place in the present. Forget or no longer care about that history and all you are left with is an unending present and no hope for a better future.
Things which we take for granted like new paper, pencils, a cake of soap, love apples and books are cherished, admired and savored by virtue of their rarity and inaccessibility. As for something like beef – that product is virtually revered as something miraculous.
In answer to the question, “How did we come to this?” Sol knows with whom the blame lies as it does with most things which turn out to be “lousy.” It’s that it seems as if from the outset that “nobody cares, nobody tries…” And so with the result that we’re left with a society reminiscent of something out of the old Soviet era eastern bloc, with a mass of humanity navigating through a sea of air pollution and having to line up for interminable periods for benefits (D's cash or food coupons) “at tables one and two,” along with inevitable food riots over synthetic food shortages and where like the lieutenant’s “busted” watch, nothing really works.
This is a society that the likes of Governor Santini has overseen and as the poster on the wall in the Lieutenant's office indicates, he wishes to be re-elected. Such powerful elites that exist as images on a screen and on an election poster are obviously a major part of the problem faced by a society, but it is really up to individuals to work out how to repair and get things going before the faults become like in the case of the Lieutenant’s watch, irreparable.
Thorn informs his superior that Simonson’s murder was “supposed to look like he was killed when he caught some punk burglarizing his apartment.” In short, “it was an assassination.” Thorn’s reasoning for this is as follows;
• “One: The alarm system was out of order for the first time in two years.
• “Two: The bodyguard was conveniently out shopping.
• “Three: The punk didn't take anything.
• “And four: The punk was no punk. He used a meat hook instead of a gun to make it look like a punk.”
Thorn concludes that the murder was an inside job and that the bodyguard was responsible.
Thorn’s investigation moves to Tab Fielding’s residence, an apartment, “second floor to the right” in a block which is protected by an armed guard. A scantily-clad Martha, Phillips (Fielding’s furniture) answers the door to Thorn’s demand to open up.
Sol is something of a conduit to a time long since past where books were published and “when there was paper and power and presses that worked.” A knowledge of one’s history provides a reference point for what takes place in the present. Forget or no longer care about that history and all you are left with is an unending present and no hope for a better future.
Things which we take for granted like new paper, pencils, a cake of soap, love apples and books are cherished, admired and savored by virtue of their rarity and inaccessibility. As for something like beef – that product is virtually revered as something miraculous.
In answer to the question, “How did we come to this?” Sol knows with whom the blame lies as it does with most things which turn out to be “lousy.” It’s that it seems as if from the outset that “nobody cares, nobody tries…” And so with the result that we’re left with a society reminiscent of something out of the old Soviet era eastern bloc, with a mass of humanity navigating through a sea of air pollution and having to line up for interminable periods for benefits (D's cash or food coupons) “at tables one and two,” along with inevitable food riots over synthetic food shortages and where like the lieutenant’s “busted” watch, nothing really works.
“You know what I really think, Lieutenant?”
“What?”
“I think it's really busted this time.”
This is a society that the likes of Governor Santini has overseen and as the poster on the wall in the Lieutenant's office indicates, he wishes to be re-elected. Such powerful elites that exist as images on a screen and on an election poster are obviously a major part of the problem faced by a society, but it is really up to individuals to work out how to repair and get things going before the faults become like in the case of the Lieutenant’s watch, irreparable.
Thorn informs his superior that Simonson’s murder was “supposed to look like he was killed when he caught some punk burglarizing his apartment.” In short, “it was an assassination.” Thorn’s reasoning for this is as follows;
• “One: The alarm system was out of order for the first time in two years.
• “Two: The bodyguard was conveniently out shopping.
• “Three: The punk didn't take anything.
• “And four: The punk was no punk. He used a meat hook instead of a gun to make it look like a punk.”
Thorn concludes that the murder was an inside job and that the bodyguard was responsible.
“Son of a bitch!”
Thorn’s investigation moves to Tab Fielding’s residence, an apartment, “second floor to the right” in a block which is protected by an armed guard. A scantily-clad Martha, Phillips (Fielding’s furniture) answers the door to Thorn’s demand to open up.
Fielding is not there, but Thorn uses the time to employ his trained eye to join the dots from the available clues. No search warrants in this future world! Just plain old “routine” in place of concepts of ‘rights.’
“I never ate like this”
The meal that Thorn and Sol sit down to in the apartment is more than just an exercise in eating. It is a feast of the senses in which the feel, texture, taste and smell of each item is savored and relished. In that moment food is more than just a source of nourishment, a fuel to consume or a means of filling the stomach and satisfying hunger. It is an experience and a part of a long-ago world that Sol remembers where despite the never-changing rottenness of people, “the world was beautiful.”
Speaking of rotten people, Sol has located a biographical survey of the late William R. Simonson. He was born in the early 1950s; unmarried; graduated Yale Law School; Principal partner - Simonson. Borden and Santini; director of Holcox Manufacturing, Norfolk, Virginia; Specialist in manufacturing freeze-drying equipment for commercial food processing; became a member of the board of Soylent when it acquired Holcox.
Yes, the very Soylent that controls the food supply for half the world!
“But the department wants to cooperate with the governor's office. Right?”
And yet human rottenness is about to reveal more of itself as Thorn is certain that he is being tailed. Why? Getting too close to the truth? Low and behold after his call to the Lieutenant, who do we find in the latter’s office? None other than Mr Donovan who supplied Gilbert with the makeshift carpenter’s cats paw that was used to cave in Simonson’s skull.
"If I could afford it I`d smoke two, maybe three of these a day”
Thorn continues his investigation by revisiting the scene of the crime, Simonson’s apartment. Shirl is not alone as there’s a veritable “furniture” smorgasbord but what really impresses Thorn far more is the presence of ice in his whiskey and being able to puff on a cigarette.
Shirl also notes that Simonson in addition to shopping, took her to church “about a month ago, and then again a few days before he died.” While in church he prayed and spoke to a priest. Shirl mentioned that “he was very strange towards the end” and hadn’t touched her in months. Even more strange was that for no reason at all Simonson would cry.
On the surface, it seems that to Thorn’s way of thinking, Simonson’s emotional and psychological state was at odds with his status and wealth. After all, being “rich. important” and having “plenty to eat, real bourbon” and a girl like Shirl, why would he have the need to go to church?
But Thorn’s way of thinking is perhaps not quite a true indication of his character as can be seen from his reaction to Charles’ brutal treatment of the room full of ‘furniture.’ Just by his presence, his position as ‘cop’ and the implied threat and hint of menace in his voice, he is easily able to put Charles in his place.
“Forgive me. It's destroying me”
After a spending time in heaven where there’s hot running water, air conditioning, eggs for breakfast, a rubdown from a beautiful woman and other pleasant delights, Thorn makes his way to the church that Simonson attended. Note that at the entrance he spots the dead body of a woman with her child still alive bound to her wrist and sitting next to her. Thorn stops to pick up the child and take it into the church and place it in the sister’s care.
“Something stinks here”
Thorn soon discovers that the rich and powerful are attempting to curtail his investigation by applying pressure to his superiors. The Lieutenant informs Thorn that “the Simonson case is officially closed” and is to be signed off as “felonious assault.” In other words, he is to falsify the report and end the investigation by the orders of Governor Santini, part of “they”, the “high and hot” who pay the salaries of the likes of Thorn and Lieutenant Hatcher. Thorn refuses to roll over and comply stating, “I won't put my job on the line for you. Hatcher. Not my damn job!”
Speaking of the “High and Hot,” we next find the Governor at the site of “the only tree sanctuary in New York” - a wonderful testament to the efforts of the high and mighty who are only concerned with maintaining their own positions of power and privilege while the rest of the world can go to hell. And who should be joining Santini? Why our Mr. Fix-it, Donovan!
Donovan informs Santini that “the police officer involved refuses to close the case” and that he went to Simonson’s church and spoke with the priest, “the same priest who heard Simonson's confession.” Donovan is instructed to do what he has to do to take care of the situation.
Fielding later on attends confession at the church and lines up for his turn, not to be blessed or to confess his sins, but instead to add to his already substantial number of sinful transgressions – on this occasion the murder of Father Paul.
“The scoops are on their way!
I repeat: The scoops are on their way”
Synthetic footgear, plastics and plastic ware, “quick-energy yellow Soylent made of genuine soybeans,” Soylent crumbs and buns – a synthetic smorgasbord for the masses to line up a “whole lousy day” for the privilege of feeling ripped off and short-changed. Yes, indeed “a real bargain” and a great deal more than they could ever have bargained for…..
After the street market riot, Thorn makes his way to Fielding’s apartment for his own brand of extracting information. Such as the following;
• Why Fielding (and by implication his bosses) set up Simonson?
• Who pays Fielding’s bills?
• Does Fielding work for Soylent Corp?
• How much did Soylent pay Fielding?
• Does Soylent buy his strawberries (and by implication other privileges?)
“I see the words, but I can't believe them.”
Assisting Thorn with his investigation, Sol meets with the “Books” at the Supreme Exchange bearing the two volumes of "Soylent Corporation Oceanographic Reports," that were given to him by Thor.
The shocking truth emerges that the oceanographic report reveals that the oceans are dying, and can no longer produce the plankton from which "Soylent Green" is made. "Soylent Green" is in fact now being produced from the remains of dead people obtained from heavily guarded waste disposal plants outside the city. Humanity has in effect been reduced to the act of cannibalism!
Simonson's “learned these facts and they shook his sanity.” His murder was ordered by his fellow Soylent Corporation board members who came to realize that “he was not reliable anymore. They feared he might talk and so he was eliminated.”
“The evidence is overwhelming” but before the matter can be brought before the Council of Nations, proof of the Soylent Corporation’s crime against humanity is needed.
The whole scene within the Exchange seems to take on the feel and to conjure up memories of such calamitous events from history as genocide, the Holocaust and all that led to the Nuremberg trials. Upon learning of the truth, Sol is so shaken, he feels that if God cannot be found here in the world as it has become and the truth is too shocking to live with, then he feels that he has only one option and that is to "return to the Home of God"……...and it is all too clear what he means by this.
Speaking of a sense of diminishing options, despite the developing relationship between Thorn and Shirl any future they may have had together is doomed from the outset. They can’t start over in another city as “they're all like this” and the country is forbidden to them with farms and good land being guarded the “way they guard the waste disposal plants and Soylent factories and the plankton ships.”
With no place to go, all Thorn and Shirl have as a kind of refuge from the awful reality of the world around them are their developing feelings for each other – a place where someone like Shirl is not just viewed as being little more than a consumable product, something like “a hell of a piece of furniture.”
In contrast, Shirl is later confronted by the arrival of the new tenant who likes to “sleep late” and have “a big breakfast and no lunch.” For this privileged denizen of the New World Order, Shirl and women like her are viewed as being little more than sexual serfs - “a girl who's fun” and exists for the satisfaction of someone else’s needs, bought and paid for.
When Thorn returns to his and Sol’s apartment, he finds a message left by Sol. Realizing that his old friend intends to end his life by entering the “Going Home” facility, Thorn rushes over there to stop him.
In this ‘future’ society, death has become an efficient process of sanctioned euthanasia whereby the individual is led to believe they can choose to end their life when they feel they have lived long enough or have had enough of living. And yet, strangely enough the process does have a certain beauty about it in which the soon to be deceased is presented with a visual montage together with musical accompaniment consisting of beautiful long-vanished scenes of forests, flowers, rivers and ocean life. Nature in all its glory – a one time heaven on earth before human beings created hell on earth by destroying all that was good and beautiful.
Thorn arrives too late to save Sol but is himself overwhelmed by the audio-visual euthanasia display for his old friend in his last moments of life and also by what Sol is about to reveal to him.
Before dying, Sol whispers what he has learned to Thorn about the horrible truth involving Simonson and Soylent. Sol pleads with Thorn to find proof of what has been going on and bring it to the Supreme Exchange, who can then forward the information to the Council of Nations to take action.
The shocking truth emerges that the oceanographic report reveals that the oceans are dying, and can no longer produce the plankton from which "Soylent Green" is made. "Soylent Green" is in fact now being produced from the remains of dead people obtained from heavily guarded waste disposal plants outside the city. Humanity has in effect been reduced to the act of cannibalism!
Simonson's “learned these facts and they shook his sanity.” His murder was ordered by his fellow Soylent Corporation board members who came to realize that “he was not reliable anymore. They feared he might talk and so he was eliminated.”
“The evidence is overwhelming” but before the matter can be brought before the Council of Nations, proof of the Soylent Corporation’s crime against humanity is needed.
“What God, Mr. Roth?”
The whole scene within the Exchange seems to take on the feel and to conjure up memories of such calamitous events from history as genocide, the Holocaust and all that led to the Nuremberg trials. Upon learning of the truth, Sol is so shaken, he feels that if God cannot be found here in the world as it has become and the truth is too shocking to live with, then he feels that he has only one option and that is to "return to the Home of God"……...and it is all too clear what he means by this.
Speaking of a sense of diminishing options, despite the developing relationship between Thorn and Shirl any future they may have had together is doomed from the outset. They can’t start over in another city as “they're all like this” and the country is forbidden to them with farms and good land being guarded the “way they guard the waste disposal plants and Soylent factories and the plankton ships.”
In contrast, Shirl is later confronted by the arrival of the new tenant who likes to “sleep late” and have “a big breakfast and no lunch.” For this privileged denizen of the New World Order, Shirl and women like her are viewed as being little more than sexual serfs - “a girl who's fun” and exists for the satisfaction of someone else’s needs, bought and paid for.
“Oh, dear God. I've lived too long.”
When Thorn returns to his and Sol’s apartment, he finds a message left by Sol. Realizing that his old friend intends to end his life by entering the “Going Home” facility, Thorn rushes over there to stop him.
In this ‘future’ society, death has become an efficient process of sanctioned euthanasia whereby the individual is led to believe they can choose to end their life when they feel they have lived long enough or have had enough of living. And yet, strangely enough the process does have a certain beauty about it in which the soon to be deceased is presented with a visual montage together with musical accompaniment consisting of beautiful long-vanished scenes of forests, flowers, rivers and ocean life. Nature in all its glory – a one time heaven on earth before human beings created hell on earth by destroying all that was good and beautiful.
“How could I ever imagine?”
Before dying, Sol whispers what he has learned to Thorn about the horrible truth involving Simonson and Soylent. Sol pleads with Thorn to find proof of what has been going on and bring it to the Supreme Exchange, who can then forward the information to the Council of Nations to take action.
“Just live”
As Thorn makes his way back to the Supreme Exchange, he is ambushed. He manages to contact Shirl by police phone and despite her expressing the desire to live with him, Thorn pleads with her to stay with the new tenant and just live. What else is left when all else has been taken away but to go on living and…hope….perhaps?
“Next thing, they'll be breeding us like cattle for food”
While shooting it out with his attackers, Thorn tries to find refuge in the church, and after a gun battle and physical altercation with Fielding he is seriously wounded. As Thorn is tended to by paramedics, he implores lieutenant Hatcher to “get to the Exchange” and “tell them they're right” as he has proof that “the ocean's dying, plankton's dying and that what he has seen for himself is that “Soylent Green is made out of people!”
“Soylent Green is people!
We've gotta stop them somehow!”
Points Of Interest
In 1973, “Soylent Green” won the Nebula Award for Best Dramatic Presentation and the Saturn Award for Best Science Fiction Film.
Origins
Edward G. Robinson’s Final On-screen Appearance
“Soylent Green” was Edward G. Robinson 101st and last movie. In just 12 days after completion of filming, he died of bladder cancer on January 26, 1973. Robinson knew that he was terminally ill during shooting but the cast and crew did not. This makes the very last “Going Home” scene he played in the film even more poignant in that it comes across strongly as being in effect his own death scene. The music score in Sol's death scene was conducted by Gerald Fried and consists of the first movement of Pyotr Ilyich Tchaikovsky's Symphony No. 6, the "Pathétique." The start of the visual presentation, the music is the first movement of Ludwig van Beethoven's "Symphony #6 (The Pastoral)." With the flock of sheep appearance, the music is "Morning" from Edvard Grieg's "Peer Gynt Suite #1." The end of the presentation features "Asas Death," also from the "Peer Gynt Suite."
At the time of shooting, Edward G. Robinson was almost deaf. Apparently, he was only able to hear anyone if they spoke directly into his ear. Those scenes with him talking to other people had to be shot several times before he was able to get the rhythm and timing down in order to respond to them as if he could really hear them. Nevertheless, the end result of his final on-screen performance is a testament to the fact that Edward G. Robinson was one of the finest actors of any era.
Locations, Props & Sets
“Computer Space,” an early coin-operated arcade video game, was used in the film in Simonson's apartment, and is said to be the first video game appearance in a film. It was manufactured by Nutting Associates in 1971 and designed by Nolan Bushnell, who later founded "Atari" and designed "Pong" (1972). The video game was painted white for the movie but the original color was either yellow, red or blue.
The Soylent Green manufacturing facility is the Chevron oil refinery and power plant in El Segundo, California.
“Soylent Green” was the last film shot at the "MGM Studios" backlot on Overland Boulevard and Culver Boulevard in Culver City, California, prior to its demolition.
The "going home" building is the Sports Arena next to the LA Memorial Coliseum. The Sports Arena was built in 1959 and demolished in 2016.
Relevance
I can recall quite a bit of the era that the film was made in with the end of the 1960s and the start of 1970s being a time of unsettling change and economic, cultural, political and social upheaval. The Cold War was still in progress with tension and division between Communist Soviet bloc countries and Western liberal democracies. There was the global OPEC oil crisis and related economic upheaval; Palestinian terrorist hijackings along with the Red Brigades and Baader-Meinhof Gang terrorist activities. There was concern about environmental degradation such as air, water and land pollution, overpopulation and possible exhaustion of resources, along with fear about nuclear weapons proliferation and nuclear power generally. Racial discrimination, conflict and tension were major concerns around the world at the time. The 1970s was the time when my (along with many other young people’s) political views began to develop and took on a radical and somewhat naïve turn. That was when I first took part in anti-nuclear and environment protection protest marches and demonstrations.
I guess we in the 21st Century are not quite as special, distinctive, unique, progressive or exclusive in our concerns as we might like to think.
A film like “Soylent Green” or indeed Harrison’s original story ought not to be seen as being some kind of prophetic view of the future in which you can select these bits as turning out to be true while other bits they plainly got wrong. Such stories and depictions are in fact best viewed (apart from their entertainment value) as being cautionary tales about what could eventuate if we blindly follow particular paths toward the future and that if we choose to change direction then the world could turn out to be a better place to live in. After all, do we want to live in a dangerous, overcrowded and over-regulated society that is largely controlled and manipulated by giant conglomerate corporations? Do we want to live in a society where people’s freedoms and liberties are curtailed; where climate change makes human habitation almost unbearable; where mass extinctions of land and sea life occur largely due to human activity and where disruption of supply chains and inequitable distribution of vital products leads to scarcity and shortages for many? Well, do you? Yes, in many ways "Soylent Green" is still a very persuasive, unsettling, thought-provoking and relevant film even after almost half a century!
Now in the 21st century with climate change concerns; a global population well over seven billion; a devastating global pandemic; truth and fact becoming casualties; likely food, water and energy shortages; over-surveillance, control and compliance; the growing power and influence of pharmaceutical and tech companies, Richard Fleischer’s 1973 film provides a timely warning as to the many possible ways a society can figuratively consume itself from within if it is not careful.
Have a wonderful and safe Christmas & all the very best for the New year!
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