THE CREATION OF THE HUMANOIDS (1962)

 

This eighty-four-minute American science fiction double feature was directed by Wesley Barry for Genie Productions Inc. and released by Emerson Film Enterprises. Who knew? The Eastman color is rich and dense with cinematography work by Hal Mohr enhancing the simplistic and colorful set designs—highly interpretive as if for a modern stage play. But Shakespeare this is not. Most of the lowly budget was spent on paper to print the massive scripts that rival Congress's pork projects. Jay Simms created the most talkative film of the Sixties. Through its knee-deep dialogue, it attempts to convince the viewer that humans and humanoids share many similarities. This film is a real technical head-scratcher, so it is pointless to divulge any of its fictitious jargon. 

From the pessimistic Hollywood playbook comes the story that most of humanity has been destroyed by a nuclear war. Humanoids are an advanced type of robot that work closely with humans. They are created from man's unique ability to learn, his memory, his personality, and his philosophy. The uppity “oids” seem a wee bit condescending. Today, they may visually remind one of the future Ernst Blofeld, played by Donald Pleasence, in You Only Live Twice. Like Blofeld, they dress in “Communist” uniforms with their banded collars. These Godless humanoids routinely recharge at stations they call "temples" and exchange information with a central computer known devotedly as "the father-mother." Their glowing eyes are creepily well done. 

"The Order of Flesh and Blood" is obviously the humans. They are constantly assessing the humanoids whom they fear are planning to take over the world. They do seem to be quick learners. One local OFB union leader is played by the towering Dan Megowan, who may be the only familiar face in the film due to his many television western roles. There is a love interest, of sorts, which becomes a real eye-opener for him. The wardrobe for all OFB members are sleek “Bob Mackie” versions of a Confederate soldier's uniform of powder blue shirts combined with a reflective material topped off by a period “Rebel” cap. Jazz hands! Certainly non-issue during the Civil War.

Note: The film suggests humans should not judge humanoids too harshly. Their words might come back to haunt them. Increasingly, humans have difficulty recognizing themselves. A sly, thought-provoking ending comment by the film's research doctor intimates that identity is deeper than mere appearance.