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商品の説明

友好的宇宙人が地球人に救いの手をさしのべた……。
ロボット・ゴートで知られるSFカルト・クラシック。

<キャスト&スタッフ>
クラトゥ…マイケル・レニー
ベンソン夫人…パトリシア・ニール
ボビー…ビリー・グレイ
バーンハート教授…サム・ジャッフェ
トム…ヒュー・マーロウ

監督:ロバート・ワイズ
製作:ジュリアン・ブラウスティン
脚本:エドマンド・H・ノース
撮影:レオ・トヴァー
音楽:バーナード・ハーマン

●字幕翻訳:金田文夫

<ストーリー>
宇宙からの来訪者クラトゥは、全銀河系の要請として地球上の暴力的闘争の即時的中止を勧告するために銀色のロボット、ゴートをひきつれてワシントンに飛来、合衆国大統領との会見を申し込むがあえなく拒絶される。彼は暴力には否定的だが、強力な力を持っている事を示すため、30分間だけ地球の機能を静止させた。地球の静止する日である。しかし、クラトゥを危険視した地球人は軍隊を派遣して射殺してしまう。物言わぬ巨大ロボット、ゴートが怒って暴れ出し、クラトゥの死体を持ち去るが……。

<ポイント>
●『サウンド・オブ・ミュージック』『ウエスト・サイド物語』のロバート・ワイズ監督が贈る古典SFの傑作。
●人類と異星人とのコンタクトを描く本格SF映画の先駆的作品。

<特典>
●ロバート・ワイズ監督とニコラス・メイヤー氏(本作の代表的ファン)による音声解説
●ムービートーンニュース1951
●修復前と修復後の映像比較
●オリジナル劇場予告編

登録情報

アスペクト比 ‏ : ‎ 1.33:1
メーカーにより製造中止になりました ‏ : ‎ いいえ
言語 ‏ : ‎ 英語
梱包サイズ ‏ : ‎ 18.03 x 13.76 x 1.48 cm; 83.16 g
EAN ‏ : ‎ 4988142645722
監督 ‏ : ‎ ロバート・ワイズ
メディア形式 ‏ : ‎ 字幕付き, ブラック&ホワイト
時間 ‏ : ‎ 1 時間 33 分
発売日 ‏ : ‎ 2008/3/19
出演 ‏ : ‎ マイケル・レニー
字幕: ‏ : ‎ 日本語, 英語
販売元 ‏ : ‎ 20世紀フォックス・ホーム・エンターテイメント・ジャパン
ASIN ‏ : ‎ B0012P6CEA
ディスク枚数 ‏ : ‎ 1

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レビューのソート基準

上位レビュー、対象国：日本

レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。

aquos

見やすい

2024年3月6日に日本でレビュー済み

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基本的にセリフでテンポよく進むので見やすい映画でした。
タイトルから「地球の自転が止まるのかしら」とか勝手に想像してましたが全然違いました。
小さい頃に見た記憶のあるシーンなどもあり「この映画だったのかあ」と思うことも。
多分有名な映画なのだろうなと思いました。
宇宙人が穏やかな紳士で暖かい雰囲気で終わっていくのが最近の映画にない感じで良かったです。

2023年8月4日に日本でレビュー済み

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※表題及び以下のレビューは輸入盤VHS『Day the Earth Stood Still [VHS]』（ASIN ‏ : ‎ 6302168465）についての2016.11.28付け拙文だが、廃盤・在庫切れとなって久しいせいかガイドラインに抵触して削除されてしまったもの。備忘と参考に再掲しておく。

　冒頭のタイトル曲中、トランペットとトロンボーンが吹き交わすモティーフ（ードーーソーーソドーーー♪）が、後年のやはり宇宙SFの傑作のアレそっくりなのが（単なる偶然ではあるにしても）ちょっと可笑しい。冷戦下の世相を反映した政治性や思想性については既に語り尽くされている感のある本作だが、「空飛ぶ円盤」なる流行語が一世を風靡するやさっそく企画を立てる商売上手にも感心（？）する。かのケネス・アーノルド事件が1947年、本作のアメリカ公開が1951年、ジョージ・アダムスキーが宇宙人と会見した（と称する）のが1952年、ユング『空飛ぶ円盤』発表が1959年という時系列を考えると、本作がUFO通史（？）に占める位置―空飛ぶ円盤即ち宇宙人の乗り物という世間一般の認識の源泉―も意外に大きいのでは。

　白黒スタンダードの映像が特撮の古さを逆にカバーして、UFOやロボットの幻想的な迫真性（？）は昨今のCGや3Dなど足元にも及ばないような。いつもながらバーナード・ハーマンの音楽が素晴らしく、ロボット現る！の瞬間の衝撃と戦慄は撮影や編集の妙と併せて奇跡的（ここだけ巻き戻して何度観たことか）。ついでに言うと、ロボットの発する怪光線の効果音もハーマン「作曲」（！）。全世界の動力がストップする、真空が鳴り響くかのような不気味さは雑多な機械音や電子音の逆再生・低速度再生＋合成でこれはもはや武満徹ハダシ。「前衛音楽なんてサッパリ分からん」という人にはこういう映画を観せるのが一番（「何より音楽がスゴかった！」）だと思う。

　評者は長年輸入盤VHSで本作を観ており、DVDなどは未だ所持せずなのだが、さほど不自由・不便を感じないというのが正直なところ。DVD・ブルーレイの長所は専ら画面左右のトリミングがない点と、適宜字幕をオフにしたり原語に切り替えたり出来る（なくもがなの）便利さに尽きる…などとは邪道なのだろうけれど、あまりに画質を追求し過ぎるのもちょっとついていけないと感じる今日この頃。しょせんフィルム時代の映画製作は、二番館・三番館やドライブイン・シアターその他、ある程度まで粗雑・劣悪な上映環境（画面の雨降り、フィルムの裂断、雑音等々）を暗黙裡に前提していたもの。古い時代劇がデジタル・リマスターでヅラやドーラン、冬期撮影の白い息までまる分かりになっていたりするのは却って鑑賞の妨げに感じたりもする。ソフトの劣化を気にしつつ、手持ちの古い（＝白黒スタンダード）映画のVHS＆LDはDVDに買い替えもせずに、せいぜい古い再生手段で観ていくつもりなのだが、このあたり、旧作映画と言えば日本語吹き替えでカットの多いTV放送を映りの悪いブラウン管受像機で観るのがアタリマエの（というか、他に方法がない）時代に育った世代の雑駁さ、なのだろうか。

　小ネタ少々。劇中、宇宙人クラトゥが目にして苦笑する新聞漫画（「Are We Long for This World?」）だが、『七年目の浮気』（1955年公開）の主人公のオフィスに全く同じもの（おそらく原画）が貼ってあって、一方の壁にはまさにそのクラトゥ自身の写真も。20世紀フォックスの小道具部屋にでも残っていたのだろうけれど、これまた「何で！？」と爆笑することウケアイ。『大アマゾンの半魚人』とか『地上より永遠に』とか、拾っていけば小ネタの宝庫のような『七年目～』、こちらもまた世相の一断面として観ると面白さもひとしお。

3人のお客様がこれが役に立ったと考えています

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トシパパ

特撮番組"隠れ名作"『シルバー仮面』の元ネタ=コレ?

2023年9月17日に日本でレビュー済み

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『地球の静止する日』(The Day the Earth Stood Still)('51)
出演∶マイケル・レニー、パトリシア・ニール、ヒュー・マーロウ、サム・ジャッフェ、ビリー・グレイ、フランシス・ベイヴィア、ロック・マーティン、フランク・コンロイ

監督：ロバート・ワイズ

1950年代のアメリカ映画で多数作られたSF映画(……いや当時は"空想科学映画"か…)の１本。『海底2万マイル』『宇宙戦争』『タイム·マシン』『地底探検』といったSF小説の古典の映画化以外にも､『禁断の惑星』『宇宙水爆戦』ほか､クリーチャーやメカの造形などで､後世のSF映画に多大な影響を与えた作品も多いようだ。この『地球の静止する日』も……｡

人類より優れた文明や科学力を持つ異世界の存在が､地球人類の前にその存在を示す……という設定から始まる物語は決して新しいものではない。戦前のアメリカにおいて､SF小説の大衆化の端緒となったスペース·オペラの古典『銀河パトロール隊』以下の"レンズマンシリーズ"(E.E.スミス·作)などでも､すでに背景に使われている。この手の設定の物語には､２種類のパターンがある。

１つは､その"存在"は人類に敵対するもので､地球を侵略しようとする｡『宇宙戦争』『インデペンデンス·デイ』『バトルシップ』やTVシリーズ『V』など。もう１つは､友好的な存在であったり､人類を導いてくれる存在であるパターン｡『2001年宇宙の旅』『未知との遭遇』『E.T.』など。この『地球の静止する日』は､映画としては､後者のパターンの"元祖"に当たるかもしれない。

[物語] 地球上空に､銀色に輝き超高速で飛ぶ円盤型飛行物体が現れる。アジアからヨーロッパ上空を横切り､世界中のマスコミを騒がせた末､物体はアメリカ合衆国の首都ワシントンD.C.の運動場に着陸する。出動した軍隊に囲まれた円盤から姿を現したのは､クラトゥと名乗る異星人(レニー)だった。群がった人間たちに穏やかに語りかけるクラトゥに､兵士のひとりが突発的に発砲して怪我を負わせてしまう。

すると､クラトゥの従者ロボット·ゴート(マーティン)が､謎の光線を発して､兵士たちの銃や戦車などの兵器を次々と消滅させ始め､大騒動になるが､クラトゥはゴートを制止する。病院に収容されたクラトゥは､医師も驚くスピードで回復すると､見舞いに訪れた大統領補佐官(コンロイ)に､世界各国の首脳を集めて会談させるよう要望する。だが､当然のごとくソ連首脳が､会見場所をモスクワにするよう要求するなどして､各国の足並みは揃わない。

クラトゥがやってきた目的は､核兵器を持ち､国同士で敵対して､まとまることのない好戦的な地球人が宇宙に進出すれば､異星人たちの脅威となることは必定であり､地球外文明の中には､地球人類を排除しようという動きもあることを警告するためであった。各国首脳との会談が実現しないと見たクラトゥは､病院を抜け出し､普通の地球人になりすますと､市中の下宿屋に入居して一般人に紛れ込む。

同じ家に間借りする戦争未亡人ヘレン(ニール)とボビー少年(グレイ)母子と仲良くなったクラトゥは､ボビーの協力で同じ街に住む世界的科学者のバーンハート教授 (ジャッフェ)に接触。自分の意図を地球人類に伝えるため､教授の助けで世界中の識者に訴えかけようと画策。ことの重大さと異星人の超科学力を知らしめるために､世界中で"電気"の供給をストップさせる。それが却って政府や軍の態度を硬化させ､クラトゥの逮捕と攻撃命令が……!

異星人とのファースト·コンタクトを初めて本格的に描いたH.G.ウェルズの小説『宇宙戦争』のラジオ·ドラマ化以来､フィクションの世界では､たいがい"異星人=侵略者"である。そういう意味で､平和的意図を持つ来訪者を描いた1951年製作の本作は画期的な作品だ。だが､これ以降1977年の『未知との遭遇』まで､映画における異星人=侵略者の構図は四半世紀も続く｡(2008年には本作のリメイク『地球が静止する日』も作られた)

じつは､日本では『未知との遭遇』より数年先立つ'71年に､『地球の静止する日』と似た背景を持つ特撮TVドラマが作られている。それは『シルバー仮面』(TBS系)。視聴率不振で､ほとんど忘れられたドラマになっていますが……。裏番組の特撮ヒーローもの『ミラーマン』(フジTV·円谷プロ)に視聴率競争で惨敗したのです。しかし『シルバー仮面』は､一部特撮マニア(ヲタク?)の間では､カルト的人気があるようです｡(DVD·Blu-rayで見られます)

人類の宇宙進出の鍵となる光子ロケットを発明した春日博士が死ぬ。博士の遺児の５人兄妹は､父の発明を完成させるため､日本各地にいる父の助手たちを訪ね歩く。だが､多くの核兵器を持ち好戦的で野蛮な地球人が宇宙に進出することは､宇宙平和の脅威と考えた地球外文明のエージェントたちは､遺児たちの行く先々に現れ､妨害工作を企てる。超人シルバー仮面に変身できる次男·光二(柴俊夫)は､兄妹たちの援護のもと､異星人と死闘を繰り広げる……という話でした。

あ､脱線しましたが､'50年代初期に公開された白黒で地味な内容の"空想科学映画"が､20年後の日本の特撮TVドラマのベースに活きていた(…と､勝手に思っている)ことは､なんだか嬉しくなります(笑)

2023年8月25日に日本でレビュー済み

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1951年は第二次大戦の終結からわずか6年後、米ソの冷戦や核戦争の脅威が深刻化し始めた頃で、その頃の日常的な脅威や恐怖を描きつつ、当時人気だった破滅的・パニック的なSF作品(タコ星人の襲来等)ではない、もし外来宇宙人が地球人類よりも滅茶苦茶スマートで賢くて常識的な説法やお叱りをしてくれたらどうする的な展開です。しかもその落ち着いた展開の中で様々な独特なSF要素が多々披露され、それらはその後のSF作品（日本のアニメ・マンガ等を含む)に多大な影響を与えていると確実に推測できます。令和の今見ても確実に面白いし影響を受けます。

2人のお客様がこれが役に立ったと考えています

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他の国からのトップレビュー

すべてのレビューを日本語に翻訳

Krümelmonster75

Super Klassiker

2024年3月27日にドイツでレビュー済み

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Schnell geliefert und in Topzustand - warum kaufen nicht mehr Leute gebraucht?
Der Sci-Fi-Klassiker in HD. Tonnenweise Bonusmaterial, zwei Daumen hoch!

レビューを日本語に翻訳する

Vince

Con castellano

2022年1月11日にスペインでレビュー済み

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Opinión de Day The Earth Stood Still The BD [Reino Unido] [Blu-ray] con ASIN: B001GPTCDE
La edición bluray del Reino Unido de "Ultimátum a la Tierra" (de 1951) tiene audio castellano y subtítulos en español en los extras.
¡Un saludo! Espero que os sea de utilidad mi comentario.

4人のお客様がこれが役に立ったと考えています

レビューを日本語に翻訳する

Giorgio Simoni

un classico!!!

2021年6月4日にイタリアでレビュー済み

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Un grande classico di fantascienza, contro la guerra e contro la violenza. Il messaggio (l'ultimatum) che Klaatu porta alla Terra e' pesante, ma il significato e' ancora piu' terrificante: la sua razza ha dovuto costruire degli automi che hanno pieno potere su di loro, e che agiscono, anche seriamente, se qualcuno commette qualcosa di violento, se uccide qualcuno. Sono arrivati a rinunciare a parte del loro libero arbitrio, per vivere in pace. Cosa che Klaatu spera che non succeda con la Terra, che abbia ancora un briciolo di coscienza e di amor proprio in modo da riuscire a raddrizzare il tiro prima che sia troppo tardi. purtroppo si deve ricredere, l'umanita' e' violenta, e non ha remore di prendersela con lui, nonostante si sia mostrato piu' volte come pacifico.
Migliore anni luce del remake con il pur sempre bravo Keanu Reeves e la brava e bella Jennifer Connelly: per lo meno qui c'e' il robot Gort (chiamato veramente cosi', e non soprannominato dagli umani usando un acronimo) che, personalmente, mi fa piu' paura di quello gigantesco, composto da miliardi di naniti che invece e' nel remake!
troviamo molto materiale extra, tra cui documentari e "featurette" d'epoca, interviste dei "giorni d'oggi", e un paio di giochi interattivi (uno in cui si tenta di suonare il tema del film con il Theremin, e l'altro in cui si impersona Gort, disintegrando gli umani che cercano di attaccarlo - abbastanza ingiocabile usando il telecomando del blu ray).
note tecniche: ho comprato il Blu Ray in inglese perche', pure se personalizzato per il mercato UK, contiene comunque un disco stampato per tutto il globo terracqueo, con audio e sottotitoli per tutto il mondo o quasi (la stampa italiana e' fuori produzione).
Il restauro e la digitalizzazione sono fatti allo stato dell'arte: immagine quasi cinematografica (e' visibile la grana della pellicola), e mostra anche piccoli particolari, che forse si notavano di meno sul precedente restauro per DVD (pur sempre valido). Il comparto audio non e' male, con audio 5.1 (in luogo del vecchio mono del DVD) che pero' spesso mostra troppa differenza con i dialoghi (desunti dalla vecchia colonna italiana monofonica dell'epoca, limitata in bassa e in alta frequenza, pur se ben ripuliti e poco "nasali", come invece succede nelle digitalizzazioni di pellicole monofoniche dell'epoca) e la colonna Musica e Effetti, troppo "pulita" e con dinamica nettamente superiore a quella della colonna dialoghi, che ogni tanto porta ad abbassare il volume quando finiscono di parlare ed entra la (fantastica) musica (suonata con il mitico Theremin, uno strumento elettronico, forse il primo, che si suona senza contatto). Comunque, la resa e' dignitosa, e, trattandosi di un doppiaggio d'epoca (con l'indimenticato e bravissimo Emilio Cigoli a doppiare l'alieno Klaatu - l'immenso Michael Rennie, qua in uno dei suoi primissimi ruoli - e l'altrettanto bravo Lauro Gazzolo a doppiare il professor Barnhardt) il risultato e' tutto sommato decente.
non dovrebbe mai mancare in una collezione che si rispetti!!!

1人のお客様がこれが役に立ったと考えています

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Owen walkley

Classic

2023年7月25日にオーストラリアでレビュー済み

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Enjoyed this movie. Was impressed with the inside of the ship set.

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J. L. Sievert

We have been warned

2017年8月3日に英国でレビュー済み

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Both sci-fi film classic and Cold War document, the film was made in 1951 when the battle lines between the United States and Soviet Union were being drawn. Nuclear battle lines, that is. We still live with the spectre of such menace today even if the the old U.S.S.R. has dissolved, as there are over 15,000 nuclear weapons in the world, 90% of them in the U.S. and Russia, two gangs in a turf war with the world held hostage to it. What a way to live!

So I thought I’d write about this classic film now, as important today as it was when made over 60 years ago.

A UFO is detected in the atmosphere surrounding Earth. U.S. radar and tracking stations around the world are tracing its movements. As it draws closer to the surface many other people around the world are increasingly tense and worried. What is it? Where has it come from? Why is it visiting? What do its inhabitants want? In due course these questions will be answered, but for now anxiety reigns. The terrible Second World War was one thing. So is this ghastly Cold War, a stalemate between superpowers with nuclear weapons in their arsenal. But this is something beyond those crises, something intergalactic and unknown.

The film is clever. It keeps us guessing and wondering for as long as possible, just as it does with persons on Earth in the film. The spacecraft circles the globe, surveying terrain for its best landing site. The Siberian tundra is clearly out. Instead, it lands in Washington, D.C. in the U.S., setting down on several baseball fields in a public park. The spaceship is metallic silver and huge, a saucer-shaped craft the size of Wembley Stadium’s football pitch.

It was patient and silent as it moved through Earth’s atmosphere. It remains silent and patient now as it rests in the park. The U.S. army has surrounded it with armed soldiers, tanks, howitzers and grenade launchers. The D.C. police are out in force as well to keep curious onlookers at bay beyond the protective cordon.

The craft landed in the afternoon. Radio and television broadcasts around the world — in French, Russian, Hindustani and scores of other languages — are covering the event. Two hours pass. Nothing, silence. Then, before dusk, something begins to stir. A faint hum is heard. Cracks in the spacecraft appear. A ramp opens up. Then a door. The crowd is aghast, all eyes on the door. From it an 8-foot metallic robot emerges. He is massive. His name is Gort. The crowd shudders. Gort stands on the ramp, impassive, immobile. Then Klaatu emerges, a thin being with skinny arms and legs (two each). He wears a space helmet, his face obscured. He walks down the ramp and stands on the grass, the first alien being (presumably) to ever set foot on our planet.

He removes his helmet. He looks like a man, a human being. But his voice is flat and monotonal, free of inflexion. He says he has come bearing a message. He intends it to be heard by all people on Earth. He states he wants the heads of all states to assemble to hear him speak. As a token of goodwill and peace he removes an object from his breast pocket, holding it in his hand. But he does not tell the jittery soldiers what it is. Suddenly the object springs open and makes a noise. A nervous soldier fires. Klaatu drops to the ground, bleeding. Thus his first encounter with mankind is violent. He may have come in peace, but he is gunned down before he can bring it.

Klaatu delivers a command to Gort. The robot’s visor opens. A powerful laser from Gort destroys the army’s violent weapons: its rifles, tanks, artillery. The display is awesome, unbelievable. Gort is ready to destroy more, but Klaatu commands him to stop. Thereafter Klaatu is taken to Walter Reed General Hospital in Washington for examination and treatment.

The doctors are amazed to see how similar his anatomy is to that of humans. The X-rays reveal few anomalies. A bullet is removed from his shoulder. He’s in bed a day or two. But after this, astonishingly, his wound completely heals. How? Klaatu has brought his own medicine, in this case a salve with miraculous healing properties.

Gort stands inert, harmless. The spacecraft is sealed tight again. Engineers examining its design and texture can find no seams in the surface of the craft. They are baffled. They cannot explain the ramp and door openings. Chemists on the scene are also startled by the composition of Gort’s outer layer, a metal alloy so strong it seems completely impenetrable. No metal found on Earth is comparable.

An assistant to the U.S. President, Secretary Harley, visits Klaatu in hospital. Harley asks him the standard questions posed in paragraph 2 above. Klaatu says he can say nothing at this point. What he has to say cannot be shared with any individual. He must speak to all residents on Earth. Harley says it will be difficult, if not impossible. Tensions are high on Earth, the political situation unstable. It’s unlikely the nations of the world will agree to come together quickly and peacefully for talks. Impatient with Harley, Klaatu says:

“I won’t speak to any one nation or group of nations. I don’t intend to add my contribution to your childish jealousies.”

Harley tells him to be patient. Klaatu replies:

“I’m impatient with stupidity. My people have learned to live without it.”

Security at Walter Reed is not as tight as it should be. Klaatu vanishes. How he escaped nobody knows, but he’s gone, at large. The media discovers this. Radio and television broadcast horror stories of an alien monster on the loose. Newspapers carry caricatures of Klaatu, none of them accurate, the head and eyes too large.

Where is he? The manhunt is coming up empty.

Klaatu has gone undercover. A dry-cleaning tag on the arm of a blazer he has stolen and wears says, “Carpenter”. So this becomes his name: Mr. Carpenter.

Room for Rent says the sign on a quiet suburban house in Washington. Klaatu as Mr. Carpenter investigates. Mrs. Benson is a war widow. Her husband died at Anzio and is buried at Arlington National Cemetery in Washington. She has a 10-year-old son named Bobby, named after his father Robert. Carpenter takes the room. Bobby is precocious, inquisitive, curious. Carpenter recognises his young intelligence. They become fast friends. Carpenter seems to be a New Englander, and he confesses to Mrs. Benson and others who visit the Benson household that he doesn’t know Washington well. On a Saturday Bobby offers to show Carpenter the local sights. They visit Arlington, the Lincoln Memorial and of course the alien spacecraft. A large crowd is still gathered behind a cordon of police and military personnel that surrounds the spacecraft. Gort has stood motionless outside the craft for two days now.

Bobby is a little puzzled by Carpenter. The stranger knows a lot about science, physics and mathematics, but little about anything else. Carpenter wonders if all those buried at Arlington were soldiers and he doesn’t know who Abraham Lincoln was. He also has no money and has never seen a movie. But he does have diamonds in his pocket, although Bobby fails to understand why this should be so even when Carpenter tells him they are a means of universal exchange. Bobby begins to wonder if Mr. Carpenter is a bank robber, jewel thief or spy.

Carpenter wants to meet Professor Barnhardt, a local physicist and mathematician. The actor Sam Jaffe plays him. In those days he was old and lined and had long frizzy hair like Albert Einstein. The casting was unmistakable, and indeed Barnhardt seems to be as intelligent as Einstein. But not quite. Bobby and Carpenter visit the Barnhardt home. He isn’t in. Through a large window on the terrace they gaze into his study. In it they see a big blackboard with equations scattered across it. The door is locked and Bobby walks away. But when he turns he sees Carpenter entering the room, the door now mysteriously unlocked. Bobby watches him as Carpenter goes over the equations, chalking a check mark against those that are correct. Then Carpenter adds a few equations of his own.

A lady servant of Dr. Barnhardt arrives, finding Bobby and Carpenter in the professor’s study. She is irate and says she’ll call the police. Carpenter advises against it. He also tells her it would be unwise to erase anything he has written on the blackboard. The new equations are meant to help the professor, not hinder him. Carpenter writes down the Benson home address and invites the professor to contact him.

He does. Actually, someone from the government fetches him and brings him to the professor. Barnhardt is astounded by Carpenter’s intelligence. The professor had laboured for months over the equations. But now the solutions look so simple. How had he not grasped the way forward before? Carpenter explains where he went wrong. Barnhardt thanks him but concedes his ideas are only theoretical. Carpenter confirms they are correct.

Barnhardt:

“How can you be so sure? Have you tested this theory?”

Carpenter:

“I find it works well enough to get me from one planet to another.”

Barnhardt’s eyes widen. He looks breathless.

Carpenter (smiling):

“I am Klaatu.”

Barnhardt takes the lead in contacting the government, urgently requesting a meeting of all heads of state on Earth. Only he knows what Klaatu means to say to his fellow inhabitants of Earth.
But how can Klaatu convince them that total earthly cooperation is needed? His answer: He will make Earth stand still. At precisely noon the following day electricity and other energies will cease to function for 30 minutes.

The demonstration is carried out. Almost everything comes to a stop: transportation, printing presses, broadcasts, home appliances. A complete, worldwide brownout.

Clearly, the power at Klaatu’s disposal is immense. This should be self-evident now. But fear still reigns, not reason.

Even so, the meeting is duly arranged. It will be held in Washington tomorrow night. Yet through a series of events Klaatu’s cover as Carpenter is blown. The army, placed on full alert, is ready to recapture him.

The following night a taxi is headed downtown. In it Carpenter and Mrs. Benson are seated. They are going to the meeting together. She knows who he is now. Yesterday he was forced by circumstances to tell her the truth. She knows it was he who made the earth stand still.

As they head downtown they notice a build-up of army personnel along the route. The taxi driver does too and is nervous. Klaatu tells Mrs. Benson he’s worried about Gort. Only Klaatu knows Gort’s destructive powers. He knows what Gort will do if anything happens to Klaatu. And so he teaches Mrs. Benson perhaps the most famous alien words in the history of sci-fi cinema:

“Gort, Klaatu barada nikto.”

She repeats the words to herself, committing them to memory.

They are intercepted. Klaatu runs from the vehicle. The army opens fire. He is shot and killed.

Mrs. Benson hurries to the spacecraft. Gort has already killed the army guards standing duty. He will try to kill her now too. But as his visor opens she utters the fateful words to him:

“Klaatu barada nikto.”

His visor closes. He picks her up and carries her into the spacecraft. Then he departs. Implausible though it may be, he then finds the body of Klaatu and carries it back to the ship. Thereafter follows the famous Christ-like resurrection scene where Gort places Klaatu on a machine that restores him to life, however temporary it will be.

The meeting that was to be held downtown is shifted to the foot of the spacecraft now. Dr. Barnhardt is at the podium and means to address the assembled foreign dignitaries. But he barely has a chance to speak as the ramp of the ship slides down and the door opens. Gort emerges first, then Mrs. Benson with Klaatu. Gasps from the crowd. Klaatu lives! He was dead. He’s eternal, or seems to be. Christ-like indeed.

The whole point of the film is summed up in the long, eloquent speech Klaatu makes to the crowd at the end. It’s long but had to be for him to say everything worth saying. He solemnly says:

“I am leaving soon, and you will forgive me if I speak bluntly.

The universe grows smaller every day, and the threat of aggression by any group anywhere can no longer be tolerated. There must be security for all or no one is secure. This does not mean giving up any freedom, except the freedom to act irresponsibly.

Your ancestors knew this when they made laws to govern themselves and hired policemen to enforce them. We of the other planets have long accepted this principle. We have an organisation for the mutual protection of all planets, and for the complete elimination of aggression. The test of any such higher authority is of course the police force that supports it. For our policemen we created a race of robots. Their function is to patrol the planets in spaceships like this one and preserve the peace. In matters of aggression we have given them absolute power over us. This power cannot be revoked. At the first sign of violence they act automatically against the aggressor. The penalty for provoking this action it too terrible to risk.

The result is, we live in peace, without arms or armies, secure in the knowledge that we are free from aggression and war, free to pursue more profitable enterprises.

We do not pretend to have achieved perfection, but we do have a system, and it works. I came here to give you these facts. It is no concern of ours how you run your own planet. But if you threaten to extend your violence, this Earth of yours will be reduced to a burned-out cinder.

Your choice is simple. Join us and live in peace, or pursue your present course and face obliteration. We shall be waiting for your answer. The decision rests with you.”

So, the age-old question:

Does the world end in fire or ice, in the heat of a runaway greenhouse climate (as on Venus) or in the deep-freeze of nuclear winter? Choices remain open for us, but for how long?

We have been warned.

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地球の静止する日 [DVD]

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