Conquest of the Planet of the Apes takes place in 1991, 18 years after the events of the Escape from the Planet of the Apes, a time when the US has become a semi-totalitarian country in which Ape Management trains and disciplines simians and in which a security force demands papers at every crossing and uses all means necessary to maintain societal order. Cornelius and Zira are dead, but they gave birth to a baby ape who resurfaces as a teenaged ape with a monkey on his back about the treatment of his parents.
As Conquest opens, Armando (Ricardo Montalbán) explains to Caesar (Roddy McDowall), the now grown-up progeny (having undergone a name change) why apes are slaves. During a monologue explaining Earth's destiny/history (in Escape from the Planet of the Apes), Cornelius explained that humans took small monkeys as pets after a plague wiped out all cats and dogs. Cornelius then went on to explain that apes become slaves and that after many centuries of slavery, one ape, who he says was named Aldo, spoke the first word of resistance - "No". Now however, events have moved at a far greater speed than Cornelius predicted, taking less than twenty years rather than 'many centuries'. It seems that Dr. Otto Hasslein’s efforts from the last movie have proved futile, even though the US President was aware of the dangers presented by the talking apes.
Circus owner Armando has avoided cities, staying mostly in the provinces, in an effort to protect Caesar, who has been trained as a bareback horse rider. Armando and Caesar arrive in an unnamed city (which is really Century City in California) to give out flyers for the circus. Caesar also experiences first-hand the brutality on the apes. Unfortunately, he cannot contain his anger and frustration, and during a brutal assault on a simian messenger (named Aldo, incidentally) he cries out, "Lousy, human bastards!" The security force overhears him, but Armando takes the blame, enabling Caesar to escape. In the confusion, Armando briefly reunites with Ceasar, who is not angry at the outburst, but says now he will have to hide among the ape slaves while Armando goes to the authorities in an attempt to smooth things over.
With Armando detained and subsequently forced to kill himself to protect what amounts to his adopted son, Caesar infiltrates Ape Management as part of a shipment from Borneo (along with three orangutans). His abilities soon have him working for Governor Breck (Don Murray), a tyrannical official. When the talking ape hears of his adopted father's death, he resorts to revolution, using his face and body mannerisms to communicate with fellow apes. Gradually, Caesar begins to build an army of apes, and they gather in the basement of a building, where they stash their weapons and make plans for the revolution.
Caesar finds an ally on the human side in one of Breck's assistants, a man by the name of MacDonald (Hari Rhodes). MacDonald, a descendent of slaves, sympathises with Ceasar, so much so that when the talking ape is discovered and Breck orders his execution, MacDonald sabotages the plan. The intelligent Caesar realises the sabotage and fakes his own death. After killing a guard, he manages to escape and ignite the revolution. The conquest begins as Caesar leads his chimp brothers in rebellion against the human oppressors. When an ape revolt becomes clear, Breck sends his soldiers into the street. Though Caesar is the only ape who can talk, he can still communicate with his fellow simians, and they ambush the soldiers and engage in a series of well-directed and exciting battle scenes. The film is particularly brutal in its depictions of violence against both beast and man. The finishing battle royale is a brute of a thing with apes blindly knifing Nazi styled guards and soldiers and bullet based massacres of charging apes.
The movie finishes with Caesar rejecting violence towards man but aiming to dominate them none-the-less with this speech: "But now... now we will put away our hatred. Now we will put down our weapons. We have passed through the night of the fires, and those who were our masters are now our servants. And we, who are not human, can afford to be humane. Destiny is the will of God, and if it is man’s destiny to be dominated, it is God’s will that he be dominated with compassion, and understanding. So, cast out your vengeance. Tonight, we have seen the birth of the Planet of the Apes!"
It was a tacked on ending. The first cut of the film was much more militant (and powerful), and had Caesar call for all-out rebellion and order the the execution of all the humans. This is where the original ending would close the film, but test audiences found this too bleak and so more of Caesar's speech was added in. Roddy McDowall was called in to record additional dialogue. As a result, the new ending has Caesar’s girlfriend Lisa (Natalie Trundy) uttering the word "No" (in the previous film, Cornelius claimed that Aldo had been the first to utter this word) to prevent the now armed gorillas from killing Breck. Upon hearing her objection, Caesar softens his tone, stating that humans should be dominated with compassion and implying that one day both species would live together in harmony. The final shot is only of Caesar's eyes and is of a grainy quality - the shot was just a cropped piece of footage from earlier - while film of the apes raising their riffles is played in reverse so it appears they are lowering them instead. The original ending was restored for the Blu-ray release in 2008.
Cast and CrewEdit
- Roddy McDowall ... Caesar
- Don Murray ... Governor Breck
- Natalie Trundy ... Lisa
- Hari Rhodes ... MacDonald
- Severn Darden ... Chief Inspector Kolp
- Lou Wagner ... Busboy
- John Randolph ... Chairman of the President's Committee of Inquiry
- Asa Maynor ... Mrs Riley
- H.M. Wynant ... Inspector Hoskyns
- David Chow ... Aldo
- Buck Kartalian ... Frank the gorilla
- John Dennis ... Policeman
- Paul Comi ... 2nd Policeman
- Gordon Jump ... Auctioneer
- Dick Spangler ... Announcer
- Joyce Haber ... Zelda
- Hector Soucy ... Ape with chain
- Ricardo Montalbán ... Armando
- Rayford Barnes ... Riot Control Commander
- Sam Chew Jr. ... Controller
- Ron Pinkard ... Controller
- Daniel Keough ... Jailguard
- William Bryant ... Man at Auction
- James Bacon as Ape
Supporting Cast (uncredited)
- Unknown ... Police Officers
- Unknown ... Ladies
- Unknown ... Bookseller
- Unknown ... Beauty Operator
- Unknown ... Mrs Riley's beau
- Unknown ... Negro Tycoons
- Unknown ... Captain
- Unknown ... Striking Waiter
- Unknown ... Aldo's Handlers
- Unknown ... Caesar's Handler
- Unknown ... Keeper 1
- Unknown ... Keeper 2
- Unknown ... Keeper 3
- Unknown ... Instructor
- Unknown ... Geneticist
- Maxine Botelho ... Breeding chimp
- Erlynn Botelho ... Training/auction chimp
- William H. Bassett ... Governor Breck's Assistant
- Unknown ... Morgan, Governor Breck's Assistant
- Unknown ... Miss Greer
- Unknown ... Command Post Assistant
- Paul Stader ... Stunt Coordinator
- Tony Brubaker ... Stunts
- Roydon Clark ... Stunts
- Erik Cord ... Stunts
- Nick Dimitri ... Stunts
- Dick Durock ... Stunts
- Gary Epper ... Stunts
- Tony Epper ... Stunts
- Alan Gibbs ... Stunts
- Lars Hensen ... Stunts (Chimp)
- Whitey Hughes ... Stunts
- Hubie Kerns ... Stunts
- Hubie Kerns Jr. ... Stunts
- Henry Kingi ... Stunts
- Regis Parton ... Stunts
- Victor Paul ... Stunts
- Allen Pinson ... Stunts
- Wally Rose ... Stunts
- David Sharpe ... Stunts (Police Officer)
- Tom Steele ... Stunts (Police Officer)
- Rock A. Walker ... Stunts
- Bill West ... Stunts (Gorilla)
- George P. Wilbur ... Stunts
- Denny Arnold ... Stunts
- Steven Burnett ... Stunts
- Richard E. Butler ... Stunts
- Hank Calia ... Stunts
- Mickey Caruso ... Stunts
- Chuck Couch ... Stunts
- Bennie E. Dobbins ... Stunts
- Russ Dodson ... Stunts
- Larry Duran ... Stunts
- Ted Grossman ... Stunts
- Orwin C. Harvey ... Stunts
- Eddie Hice ... Stunts
- Larry Holt ... Stunts
- Gene LeBell ... Stunts
- Denver Mattson ... Stunts
- Troy Melton ... Stunts
- Regina Parton ... Stunts
- Glenn Randall Jr. ... Stunts
- Alex Sharp ... Stunts
- Eddie Smith ... Stunts
- Ron Veto ... Stunts
- Richard Washington ... Stunts
- Chuck Waters ... Stunts
- Fred M. Waugh ... Stunts
- Producer ... Arthur P. Jacobs
- Associate Producer ... Frank Capra Jr.
- Unit Production Manager ... William G. Eckhardt
- Script ... Paul Dehn
- Director ... J. Lee Thompson
- Assistant Director ... David 'Buck' Hall, Jack Stubbs
- Director of Photography ... Bruce Surtees
- Editor ... Marjorie Fowler, Allan Jaggs
- Music ... Tom Scott
- Sound ... Herman Lewis, Don Bassman
- Make Up ... Dan Striepeke, Joe DiBella, Jack Barron, Bill Tuttle
- Hair ... Carol Pershing
- Creative Makeup Design ... John Chambers (make-up supervision)
- Special Photographic Effects ... L.B. Abbott
- Art Directors ... Philip Jeffries
- Set Decorators ... Norman Rockett
- Title Designer ... Don Record
- Century City Shopping Center, Century City, California
- University of California, Irvine campus, California
- The early scripts for Battle for the Planet of the Apes all use the name 'Modern City' for the city in which those events take place. They also refer to Breck as having been 'City Governor', rather than the Governor of a state.
- A reverse migration into the Ultra-Security cities led to the abandonment of the outlying areas of farm and ex-suburb as living areas; city-dwellers referred to these areas as 'The Provinces'.
- The official code designation for the truck-load of wild orangutans that Caesar hid in (and thus entered Ape Management by accident) was 'Shipment 5-0-7 I-for-Indonesia Ex- Borneo'.
- The couple who purchased the ape offered for sale just before Caesar was put on the block were Mr. and Mrs. Van Thal.
- The underground maintenance corridors in which Caesar made his escape from initial pursuit were 'Service Levels Sector Gamma 9-11'.
- 'Station M' was the special emergency scrambled-code telephone line.
- The street that Caesar's disorganized army of rebel apes used to enter the city was called 'Alpha Boulevard' - the site of the first massacre.
- This movie was adapted into a novelization by writer John Jakes.
- Throughout the film, the apes have human-looking feet, and not the ape-shaped feet as in the earlier Apes films. This is most apparent when the apes are strapped to the electrical torture device, to which the feet are visibly bound.
Behind the ScenesEdit
Film Development Paul Dehn's original concept for a fourth movie picked up years after Escape ends, with Señor Armando raising Milo - who he has renamed Caesar - and treating him as an adopted son. What is unique about this original version of the story is that Armando is able to pass Caesar off as a deformed human being! When government agents suspect that he may be the talking ape who will bring about the destruction of mankind, they launch a relentless investigation that results in Caesar having to flee Armando's circus and try to survive in the desert. It is during this period of hibernation that an astronaut returning from a mission in space brings the plague to earth that eradicates all cats and dogs on the planet. Dehn then switches to a montage of fast moving clips that show the evolution of monkeys and apes into pets, then domestic servants and virtual slaves on whom humans depend to do heavy labour. Caesar is ultimately captured by poachers and sold to a company that provides apes as labourers. He realizes that if there is any indication he can speak, his real identity will be disclosed and his death will be certain. He becomes the property of a man named Breck, whose wife had been killed by an ape and who takes delight in extracting revenge by mistreating Caesar. Appalled at the abuse he and his fellow apes are suffering, Caesar begins to sow the seeds of rebellion - but his powers of speech are ultimately revealed. Against all the odds, Caesar manages to resurrect the ruse that he isn't an ape at all, but a deformed human. Ultimately, the charade is uncovered when Caesar is forced to speak while undergoing torture. Before he can be executed, however, he manages to incite a bloody riot among the other apes, which results in their triumph over their masters. The film ends on a less-than-harmonious note with Caesar ruthlessly taking revenge against mankind. In one early outline, Caesar is assisted by the astronaut who brought the plague to earth, and who is now consumed by guilt. The completed screenplay differed considerably in detail, though the story bore similarities. Interestingly, in the movie, Breck refers to his dead wife, but does not elaborate on how she died.
Arthur P. Jacobs wanted production of the fourth Apes film to remain with 20th Century Fox, but apparently made it clear that if the studio passed on Conquest he would shop the property to Zanuck-Brown - the new company established by Fox's recently ousted head of production Richard D. Zanuck. Ultimately, Fox agreed to finance the project with a budget of $1.7 million. Jacobs viewed the re-written Conquest screenplay as probably the final 'Apes' film: "When [Beneath] also became very successful, Zanuck wanted another one. That was weeks with Paul Dehn trying to work it out, and we did end [Escape] with an opening for a sequel, as you know. The fourth one takes it full circle, close to where we started the first one."  And screenwriter Paul Dehn confirmed "While I was out there, Arthur Jacobs said he thought it would be the last so I fitted it together so that it fitted in with the beginning of 'Apes 1', so that the wheel had come full circle and one could stop there quite happily, I think." However, reporters visiting the film set in February 1972 were told of rumours of a fifth movie, to be followed by a TV series.
Filming began on January 31, 1972 and wrapped on March 13. Star Roddy McDowall sprained his ankle on the first day of shooting, causing him some discomfort during the shoot. Reporter Dale Winogura visited the set of Conquest when assembling Cinefantastique magazine's excellent Planet of the Apes special issue, during January and February 1972: "What was once the backlot of 20th Century Fox studios lies a mammoth shopping center and building complex known as Century City, as futuristic a location as any film-maker could hope to find. Once again, the cameras are turning there as the same movie studio uses it as the center attraction of this, the fourth and easily most epic film of the series. The first day of shooting, January 31, was held atop the towering Bank of America building, about one block west of the shopping center, on a warm, sunny day. I ascended the building to the top floor, the 16th I believe, and the first thing I saw upon entering the location was a group of people gathered around the film's star, Roddy McDowall, in full ape makeup, with makeup man, Joe diBella, applying the final touches to McDowall's hands. This level is used as the heliport in the picture, as well as in actuality, where Caesar (McDowall) and Armando (Ricardo Montalban in the same role as in 'Escape') land in a sleek red and white copter at the start of the film, after the credits. Joe diBella seemed a bit worried as McDowall wears a leash in these scenes, and he was concerned about it pulling the makeup."
"A few days later, the company was very close to the shopping center, in front of an office building, where a large sign was placed, reading Civic Center. After the first week of shooting, in and around Century City's shopping center in the daytime, the latter part of next week was scheduled for shooting at the University of California at Irvine, where the exterior Ape Management and training scenes were filmed."
Of particular note is the proposed 'pre-title scene' Dale Winogura witnessed being filmed, as this scene - showing police on night patrol shooting an escaped ape and discovering his body covered with welts and bruises that are evidence of severe abuse - also appears in both the shooting script and the Marvel Comics adaptation, but has never been made public, having been omitted from the theatrical release of the movie and also from the extended cut released in 2008, despite other deleted scenes having been restored. This was the only one of the original five Planet of the Apes movies that was released without a pre-title sequence. "A couple of weeks later, after a considerable amount of studio interior filming, the cast and crew were back in Century City, this time for extensive night-time shooting, from about 7 P.M. to around 6 A.M. the following morning. The first evening of shooting, the sinister opening title scene was shot. Tracking shots of deserted sidewalks and buildings were filmed, and then a black-costumed and helmeted guard was shown, entering the frame with an intensely serious demeanor on his face, a light shining coldly and fiercely on him. Then, what looked like a man in a black jump suit appeared, running away into the background. A tracking shot of black boots glides back to reveal the same dark figure running on the bridge. The guard spots him, and runs after in desperate pursuit. Looming black buildings backdrop the chase, as brilliant white light floods the foreground, making the running figures look like shadows. The mysterious figure is shot by a guard, and the camera trucks in to reveal the bloodied face of an ape."
"On the following night, preparations for the climactic riot and siege of the city were filmed. A scene as difficult as this one is made even more trying by the very fact that the night temperature of the air is typically February in Los Angeles. For the most part, the civilians watching the picture being made were quiet and cooperative upon command from seasoned assistant directors Buck Hall and Jack Stubbs. When Buck yells out, "All right, boys. This is picture," silence must needs be observed, for the camera and sound equipment are rolling, and nothing must interfere with its progress." 
Marvel Comics reporters Al Satian and Heather Johnson visited the set at about this point and take up the story, paying particular attention to the atmosphere behind the scenes: "The bleak austerity of Century City Plaza conveyed an appropriately alien atmosphere in the chill of the mid-February night as we approached the main shopping mall in its centre. Well past normal business hours our footsteps on the granite pavement echoed from the darkened, vacant monoliths surrounding us. The first signs of life to greet our eyes were a poker game being played in an off-moment by workers in overalls, some human, some apes! Thick lines of black greasepaint surrounded the eyes and mouths of the more human players - they were extras who had temporarily doffed their full-head ape masks to join in the game with featured players in full foam-rubber appliances, during a break in the filming. At the head of the players’ circle sat Roddy McDowall, who quipped, 'Pictures will be fifty cents apiece, if you please!' Fittingly enough, the impersonal, neo-futuristic structure that is Century City was being cast by the studio as the 1990 city-state, self-contained habitat of a future generation and their subservient apes, for this fourth entry in the series. The film's earlier sequences - recounting the 1982 virus which killed off the lower animals and led to the gradual evolution and enslavement of the apes, and introducing Caesar, ape-child of the future who incites the apes to rebellion - had been filmed several weeks earlier in and around Century City and the University of California at Irvine. Now, after a couple of weeks of intensive interior shooting at the studios, the cast and crew had returned to Century City and the revolution was in full swing."
"As we entered the spacious square surrounded by the various buildings of the structure, cameras were being rolled into position, lights set into place and properly shaded, and stand-ins providing the focal points for the upcoming scene. Scattered about were the paraphernalia of mock-warfare - shopping carts filled with arsenals of wooden weapons of every description, battered mannikins in police and civilian clothing, 'victims' of the rebel apes, and gas-fueled pipelines to provide the artificial walls of flame that would shortly cover the city background. In the midst of all this activity, featured players, unoccupied crew members, and extras alike roamed the set freely, relaxing and chatting among themselves or with visitors to the set, posing for pictures, signing autographs, and answering questions about the film. The several hundred extras in full-head masks of three varieties of apes - chimpanzees, gorillas and orangutans - lent the only colour to the foreboding background of the location with their green, red, and yellow coveralls."
"As our photographs testify, we were witness to more apish shenanigans than might occur in a score of after-hours parties! The extras, in particular, seemed to be having a field day with this assignment, since playing apes made them virtually indistinguishable from the stars whose roles they were supporting. One extra in chimpanzee make-up apparently didn't realize that being an ape of any kind accorded him 'instant celebrity' status with.. a young lady asking for his autograph. However, once all had been readied on the set and the call to 'Places!' went out, cast and crew quickly assembled and the playing was for keeps. Spectators assumed a cooperative silence as police and apes faced each other for the film's major riot scene. Gaining the ideal vantage point at the top of the plaza staircase, just a little to one side of the cameras, we caught all of the action as police and apes met in a mock-battle-to-the-death below. This scene, in which the badly outnumbered apes barely overcome their human 'superiors', is the most spectacular in the entire film. Flames shot forth, firearms blazed, and apish war whoops that made 'King Kong' seem soft-spoken by comparison ended the stillness, and the scene was completed in two takes. The chaos subsided as abruptly as it had begun at the director's call of 'Cut!' and the mood again became one of leisure and frivolity."
"Relaxing on a stairway with extra Bill West following one of the scenes, we suddenly became aware of the volleys of hooting and howling which continued to echo from the far side of the square, long after the scene had ended. 'Listen to them!' Bill exclaimed. 'What are those idiots making all that racket for now? They're not getting paid for it!' Bill himself, however, was still very much in character in spite of himself as he donned his gorilla mask and put on his fiercest face to pose for some ape 'portrait' shots. Perhaps our greatest pleasure during the filming was meeting two of Hollywood's finest stuntmen, Dave Sharpe & Tom Steele. It was also through such off-the-cuff conversation that the latest words on the studio's plans for this series came to light, including the news that there would be one more feature film, after which the property would be sold as a weekly series to television. Speculation was that the forthcoming [fifth movie] would 'sew up' the saga by closing with Charlton Heston's arrival on the ape-dominated Earth."
"Easily the most dramatic scene we were to witness was the final scene of the film, in which Roddy McDowall as Caesar confronts Hari Rhodes as MacDonald on the steps of the Civic Centre. Being on the location, it was our special privilege to watch the filming of this fiery sequence both from afar and close-up, since the final version of the scene required that it be shot several different ways, in long-shot and close-up both, from several different angles. Poised defiantly atop the staircase, amidst leaping shadows cast by the smouldering flames behind him, McDowall presented a larger-than-life image while awaiting the cue for 'Action!' We were fortunate indeed to be standing only a few feet from him during the close-up shooting and to have captured this emotionally-charged image in our own photos between takes. The seriousness, however, quickly ceased the moment the cameras stopped rolling. Later on during the shooting, as Roddy led his ape-platoon down a thoroughfare to a subway tunnel during the height of rioting, 'Cut!' was called and the awe-inspiring commander of the ape army turned to the cameras with a mischievous grin and a loud, boyish 'Rat-a-tat-tat!' sending the entire crew into hysterics. This prevailing-air of 'anything goes' seemed to leave no one untouched, as all involved continued to ham it up in off-camera moments. Natalie Trundy, wife of 'Apes' producer Arthur P. Jacobs, and who played the chimpanzee Lisa, was having a very straight-laced conversation with one of the production staff, when we spotted her in a corner of the mall. The minute she saw our cameras, all seriousness vanished from the discussion and she slid right into character, curling her lip and putting her best ape-face forward for our benefit. Posing for some ape 'glamour-shots' for us a few minutes later, she told us of the intense interest her producer-husband had always had in fantasy and science-fiction, both in literature and in film, and of the vast book and film library and collection of memorabilia he had amassed over the years, making their home a veritable museum of fantastic artifacts. The final proof, however, that the contagious clowning on the set had reached full-scale epidemic proportions was the moment director J. Lee Thompson called the extras to their places to supply the vocal background for the film's climax on the Civic Centre steps. With a perfectly straight face, he asked: 'Will the Mormon Tabernackle Choir please assemble?'"
- Art Director Phillip Jefferies and his production team went to work converting Los Angeles into a futuristic, city-state decor. At the film’s opening there was a small use of matte paintings to obscure the fact that Century City was used as the movie’s background.
- Movie technicians deliberately washed out the color filming process to achieve a drab, cheerless mood. The architecture was comprised of stark glass and steel towers reflective of a hardened, soulless population of humans.
- Scenes featuring the ape 'auction block' for the simian slaves and other modernistic outdoor locales were shot on the campus of the University of California at Irvine. Crowds of students and other curious onlookers gathered to watch the ape-adorned actors at work. One such student was Bobby Porter, who reacquainted himself with friends in the film crew, leading to a role in the sequel Battle for the Planet of the Apes.
- The ape training complex, the offices of Governor Breck, and other interior sets were constructed at the Fox Studios.
- The riot scenes were shot over a period of seven days and six nights at the Century City Shopping Mall; filming attracted huge crowds. Hundreds of extras and 26 stuntmen were on hand for the elaborate light sequences. The movie crew agreed to stop all gunfire at ten each evening, although the crew and cast worked dusk until dawn for a couple of weeks. Special fire-fighting teams stood by, but there was no spread of the controlled flames.
- At the end of the movie, the realistic fires were created by use of several types of devices, including gas jets, paraffin, and special mixtures of diesel oil.
- The final matte shot of a silhouetted city in flames in the background was really a shot of some miniature flame and some cut-out buildings.
- Director J. Lee Thompson recalled the first preview of the movie, which proved significantly negative, was in Phoenix.
- The University of California, Irvine, was designed by futurist architect William L. Pereira, and was only six years old at the time of filming. Much of the production centered around the Social Science complex, which was designed by A.C. Martin & Associates and was still under construction during filming.
- The jumpsuits worn by the apes were leftover costumes from the 1964-68 20th Century Fox series Voyage to the Bottom of the Sea. The Ape Management men's insignia patches and computer and electronic cabinets, all came from the Irwin Allen series, The Time Tunnel (1966). The large set that comprised the Ape Management Center was a re-dressed set from City Beneath the Sea (1971). Governor Breck's auction throne was first used in Taylor's spaceship in Planet of the Apes. The same style chair was also used by passengers on the space-plane in Land of the Giants (1968).
- The revolution scenes were strongly indebted to the 1965 Watts riots in Los Angeles - much of the movie had to be cut to pass film censorship, though it was still controversially violent on its release.
- This is the only Planet of the Apes film to be rated PG by the MPAA.
- In Italy the film was released under the title 1999 - Conquista della Terra ("1999 - Conquest of the Planet"), even though the action was still set in 1991.
Armando: After twenty years, you've picked up evolved habits from me. That could be dangerous...even fatal.
Caesar: Armando, I don't understand.
Armando: Listen to me, Caesar. There can be only one talking chimpanzee on Earth. The child of the two talking apes, Cornelius and Zira, who came to us years ago out of the future and were brutally murdered for fear that one very distant day apes might dominate the human race.
Caesar: Yeah, but outside of you, nobody even knows I exist.
Armando: And we must keep it that way for the fear remains. The mere fact of your existence would be regarded as a great threat to mankind.
Armando: (referring to the dogs and cats) They all died within a few months, eight years ago. Every dog and cat in the entire world. It was like a plague. The disease that killed them was a mysterious virus brought back from outer space by one of the astronauts.
Caesar: Didn't the disease affect humans?
Armando: No, no. We were immune. And so, it was discovered, were simians, even the smallest ones. That's how it all began. Humans wanting little household pets to replace the ones they had lost. Then, when people realized how quick they were to learn, how easy to train, the pets became larger, and larger, until now.
Caesar: It's monstrous.
Armando: Now you understand why I've kept you away.
Governor Breck: If we lose this battle, that's the end of the world as we know it!! We will have proved ourselves inferior!! Weak!! And all those groveling cowards who are alive, when the battle is over, will be the weakest of all!! This will be the end of human civilization!! And the world will belong to a planet of apes!!
MacDonald: Caesar! Caesar, this is not how it was to be!
Caesar: In your view or mine?
MacDonald: Violence prolongs hate, hate prolongs violence. By what right are you spilling blood?
Caesar: By the slave's right to punish his prosecutors.
MacDonald: Caesar, I, a descendant of slaves, am asking you to show humanity!
Caesar: But I was not born human.
MacDonald: I know. The child of the evolved apes.
Caesar: Whose children shall rule the Earth.
MacDonald: For better or for worse?
Caesar: Do you think it could be worse?
MacDonald: Do you think this riot will win freedom for all your kind? By tomorrow...!
Caesar: By tomorrow, it will be too late! What if a tiny, mindless insect like the emperor moth can communicate with another over a distance of eighty miles?
MacDonald: An emperor ape might do slightly better?
Caesar: Slightly?! What you have seen here today, apes on the seven continents will be imitating tomorrow.
MacDonald: With knives against guns?! With kerosene cans against flamethrowers?!
Caesar: Where there is fire, there is smoke. And in that smoke, from this day forward, my people will crouch, and conspire, and plot, and plan for the inevitable day of man's downfall, the day when he finally and self-destructively turns his weapons against his own kind. The day of the writing in the sky, when your cities lie buried under radioactive rubble! When the sea is a dead sea, and the land is a wasteland, out of which I will lead my people from their captivity! And we will build our own cities, in which there will be no place for humans, except to serve our ends! And we shall found our own armies, our own religion, our own dynasty! And that day is upon you...NOW!!
Caesar: But now...now we will put away our hatred. Now we will put down our weapons. We have passed through the night of the fires, and those who were our masters are now our servants. And we, who are not human, can afford to be humane. Destiny is the will of God, and if it is man's destiny to be dominated, it is God's will that he be dominated with compassion, and understanding. So, cast out your vengeance. Tonight, we have seen the birth of the planet of the apes!!
- Conquest of the Planet of the Apes (Novelization)
- Conquest of the Planet of the Apes (Marvel Comic Book)
- Conquest of the Planet of the Apes at Wikipedia
- Conquest of the Planet of the Apes at IMDB
- Conquest of the Planet of the Apes review
- More about 'Conquest of the Planet of the Apes' filmed on UCI campus in 1972
- Ruins of the Planet of the Apes - UCI campus
- Ape City? - UCI campus
- UCI on the silver screen
- ↑ Overview of the Movie by Octavio Ramos Jr.
- ↑ 2.0 2.1 2.2 2.3 Conquest of the Planet of the Apes Trivia at IMDb
- ↑ 3.0 3.1 3.2 3.3 3.4 3.5 Glossary to the Planet Of The Apes Jim Whitmore (1976)
- ↑ Conquest of the Planet of the Apes Goofs at IMDb
- ↑ 5.0 5.1 5.2 Planet of the Apes: 40 Year Evolution, by Lee Pfeiffer & Dave Worrall (June 2008)
- ↑ 6.0 6.1 6.2 'Cinefantastique Planet of the Apes Issue' (1972) at Hunter's Planet of the Apes Archive
- ↑ 7.0 7.1 Behind the Planet of the Apes
- ↑ On Location: Conquest of the Planet of the Apes, by Al Satian and Heather Johnson,
with field assistance by Don & Linda Glut, Bill Warren, and Donald Hanvey - 'Planet of the Apes' UK #34 (14 June 1975)
- ↑ 9.0 9.1 9.2 9.3 Finding the Future on the Fox Ranch!, by Sam Maronie - 'Planet of the Apes' UK #43 (16 August 1975)
- ↑ 10.0 10.1 10.2 SFX on the Planet of the Apes, by Tom Sciacca - 'Planet of the Apes' UK #96 (18 August 1976)
- ↑ Man & Ape: Reflections in an Imperfect Mirror, JW-158 - 'Planet of the Apes' UK #238 (20 April 1977)
- ↑ Spirit Gum, Acetone and Landing on your head: Bobby Porter interview, by Dean Preston - 'Simian Scrolls' #18 (2015)
|Planet of the Apes|
|Planet of the Apes||Beneath the Planet of the Apes||Escape from the Planet of the Apes||Conquest of the Planet of the Apes||Battle for the Planet of the Apes|