An Alternate Reality: Futureworld (1976)

In 1976, American International Pictures gave us a well marketed sequel to MGM's mega science-fiction hit, "Westworld" (see "An Alternate Reality": July '15). Entitled "Futureworld", it ushered Michael Crichton's mechanical-cowboy-attacks theme into a Watergate-ish conspiracy flick with Space Age trimmings. 

Directed by Richard T. Heffron, from a script by Mayo Simon and George Schenck, "Futureworld" commences two years after the disastrous events of "Westworld" (which would have taken place within an alternate 1985/86 time frame), when a Delos Corporation employee contacts crackerjack reporter Chuck Browning (Peter Fonda) with an urgent but ambiguous concern about the revitalized park. 

Browning grows suspicious when the informant is murdered, and so with the help of fellow reporter, Tracy Ballard (Blythe Danner), he visits the park on a research/publicity ploy. Through the duo's  investigation, they learn that the park's androids are, indeed, still a problem, but not in the rebellious, free-thinking way they once were. This time they're being programmed to replace humans, particularly entrepreneurs, world leaders and other various, influential folk.

We're given insight to the truth before Browning and Ballard catch on, since the script allows us (if only through sporadic interludes) to see through the eyes of Delos' villainous honcho, Mr. Duffy, portrayed by Arthur ("Revenge of the Stepford Wives"/"Andromeda Strain '71") Hill. Clever insinuations reveal his plan, such as in a series of suspicious screen shots of Browning, stockpiled for evident emulation. 

Distinguished, supporting actors instigate the interrogative intrigue, including Stuart Margolin as Harry Croft, an affable Delos worker; John P. Ryan as the cold Dr. Schneider (Duffy's main accomplice); and John Fujioke as a proud vacationer with implied, Samurai roots. 

Connecting the character interaction are Delos' fascinating sectors, which include the eponymous realm, where one can gear up as an astronaut and trek into simulated space; as well as a new Medieval World and a psychedelic knock-off of Roman World, plus loads of snazzy, "off limits" corridors. (Interestingly enough, Westworld is no longer functional and kept for only fleeting visitation, though it wasn't the only sector to go off the grid in the '73 film. It appears, per insinuation, that the cowboy domain took the burnt of Delos' bad publicity after its android assault, but still, a peculiar omission, considering the first film's draw.)

Though the early part of "Futureworld" makes one feel like a carefree visitor along for the ride, its final phases present a race against time for Browning and Ballard to expose Duffy's sinister cause. Whether the duo succeeds or perishes is the key to the tension, which is strengthened by Fred Karlin's hip, ominous score. The film's surreptitious angle also makes it espionage-oriented and therefore, more representative of such '70s films as "Capricorn One"; "Executive Action"; "The Parallax View"; and "Three Days of the Condor" than its predecessor.

To further differentiate "Futureworld" from "Westworld", there's no non-stop Yul Brynner Gunslinger consuming the scenes, though the actor does, in fact, cameo in a surreal, virtual-reality sequence, where he rescues and swoons Banner. His truncated presence is at least compensated by a faceless robot named Kent (after Clark, Man of Steel, that is, and played by James M. Connor), who assists Margolin's character with menial tasks. (I've often thought it would have been neat if Kent's detached face had been revealed at some point as the Gunslinger's. Now, wouldn't that have thrown fans for a loop!)

It's also frustrating that Richard Benjamin's Peter Martin, frantic "Westworld" hero, didn't reprise his role. Considering that Martin is an attorney, it would have only gone to reason that he'd seek legal revenge on Delos and in so doing, perhaps have teamed with Browning and Ballard somewhere along the line to assist in their crusade.

Despite these missed opportunities, "Futureworld'"s autonomous structure arguably works more for than against it. Instead of retreading the first film, a tactic doom to fail by basic comparison, the sequel presents a whole, new set of tricks, while never neglecting its robotic roots. (Too bad the "Jurassic Park" franchise hasn't mimicked this upright approach.)

Indeed, "Futureworld" presents its own, special, alternate-reality vision, with ample food for thought on what we might face if our technology should ever be used for subversive intent. (Heck, some would argue that it already has.) Additionally, the film's themes feel surprisingly contemporary, projecting many of the ideas now found in any number of current, android tales. Perhaps this is a sign that "Futureworld" could be perceived as a classic someday, but only time (along with the inevitable growth of artificial intelligence) will make that pivotal determination.