The People That Time Forgot (2010)

Whatever the immediate faults with Steven Philip Jones’s adaptation of The People That Time Forgot, I think I love him for keeping the exception sexism and elitism intact. Only a few pages in–into this kids’ comic–he’s got the narrator rambling on about how he’s enthralled with his little savage beauty. It’s totally unexpected (as is Ajor, the little savage beauty, being Black–she’s white on the cover).

It’s a mediocre, amateurish attempt overall, as with Campfire’s Land That Time Forgot attempt, but People is far superior. Jones doesn’t stick rigidly to Burroughs’s original text, freeing him up to… well, it follows the story faithfully, but at least the stupid mistakes are Jones’s and not some adaptation difficulties. It makes People feel, at the very least, like a fuller attempt at an adaptation to a new medium. Jones changes things up to make it better suited for the comic book medium.

Does he fail?

Not entirely.

He does make the dialogue dumber than Burroughs’s, partially because he’s creating it (Burroughs wrote People That Time Forgot mostly as first person narration), but also because he’s trying to make it accessible. But he also tries to keep the Burroughs’s flavor. The result is mixed, but more positive than not.

K.L. Jones’s artwork here is still mediocre. I’m not sure he really comes up with anything to wow me, but his panel layouts on the page are, again, occasionally very successful.

The comic almost works, which is fine. It definitely doesn’t fail.

The People That Time Forgot (1977, Kevin Connor)

Apparently, all Kevin Connor needs–besides a decently concocted screenplay–is location shooting and a good score.

The People That Time Forgot–around the halfway point–became a movie I found myself enjoying too much. I got self-conscious about it, questioning its quality even more than usual, just because it seemed so good. It’s an adventure film, one told almost entirely in the language of film–there’s a cranky mechanic, a blustering scientist (who’s got a taste for the hooch), and an independent-minded woman who clashes with the macho protagonist. It’s somehow a perfect mix of its elements… though the music, by John Scott, helps it a lot initially. There’s also the film stock. The People That Time Forgot has a nice film stock, while Connor’s two previous films (The Land That Time Forgot and At the Earth’s Core did not).

The budget for People That Time Forgot allows for decent special effects, not great, but decent. There’s some stop-motion work and then there’s some men-in-suit work, giving the viewer a chance to compare (as usual, the stop-motion is superior). Unless there’s a model of person in them, the miniature shots are all excellent. The film creates an experience of exploration and wonder. Maybe not wonderment, but definitely wonder. You can see it on the actors’ faces. The cast of this film, particularly Sarah Douglas and Patrick Wayne, is good. Even when they’re not particularly good, Dana Gillespie as a scantily clad cave girl, you still like the character. The People That Time Forgot is a smoothly constructed film. There’s action, there’s humor, and there’s (a little) romance. But Wayne and Douglas are giving performances above and beyond the film (well, Douglas’ performance is beyond, Wayne’s is above though). Wayne was thirty-eight in the film, but his lack of shoulders gives him a more youthful appearance. He has an affability his father never did, there’s a pleasure in watching the hero try, not knowing whether or not the hero will succeed. Douglas–and I just looked and Superman II apparently typecast her in genre roles forever–is fantastic. She’s engaging, funny, just great. Her typecasting is unfortunate.

While the script isn’t good, it is well constructed. Connor still has his five minute set pieces, which are an odd way to make a ninety minute movie–he summarizes three days into five minutes, then has a six minute action, then some more summary–but it works well in People That Time Forgot. By the twenty minute mark, the viewer is actively engaging with the film. It’s the characters and the music and the lost world concept in that film language. The filmmakers know what buttons to press, because people have been making lost world films since… what? 1925?

Like I said before, I was very self-conscious about how much I enjoyed The People That Time Forgot, but at the end–even though two people who should kiss do not–I had to embrace the experience. It’s good. It’s not important (though it might be the setting sun of a particular type of genre film), but it’s good.