The Monitors

The Monitors is a distinct piece of 1969 dystopian satire that merges a variety of genres, including science-fiction, comedy, and political commentary. It’s a somewhat forgotten classic which stars Guy Stockwell, Susan Oliver, and Larry Storch in pivotal roles. Directed by the inventive Jack Shea, The Monitors presented an alternative historical reality at a time when American society was deeply embroiled in the uncertainties of the Vietnam War and socio-political upheavals.

The central narrative of The Monitors revolves around an advanced alien civilization, known as the Monitors, who have decided to take control of the Earth and promise global peace and prosperity. By enforcing ban on all forms of aggressive actions, they intend to guide humanity towards a more harmonious, ethical and violence-free existence. However, their methods, which include defense shields around areas with potential for human conflict and patrol agents to monitor human activities, have pitted them against a robust resistance force.

Renowned actor Guy Stockwell puts on an impressive performance as Harry Jordan, a seemingly apathetic former pilot. Stockwell's nuanced portrayal of a man torn between the pressing responsibilities of his profession and his budding cynicism towards the new world order makes for an engaging, compelling viewing experience. Jordan finds himself unwittingly involved in a conspiracy to take down the Monitors when he is kidnapped by a group of rebels, leading to a string of thrilling sequences, unexpected twists, and insightful reflections on human nature.

In contrast, Susan Oliver embodies Barbara Cole, who serves the Monitors willingly as a spokeswoman. Oliver's portrayal of Cole, a woman of conviction who truly believes in the new world order, is filled with emotional resonance and subtle complexity. Her unwavering faith in the benevolent plans of the Monitors and her interactions with the cynical Jordan bring to the fore a fascinating dynamic filled with palpable tension and subtle romantic undertones.

Larry Storch plays the role of crooked car salesman Max Jordan, Harry Jordan’s brother, who, driven by his opportunistic instincts, is trying to unconscientiously capitalize on the new order. Storch's addition brings in a comic layer that lightens the somewhat gloomy dystopian ambience while subtly underscoring the uncomfortable realities the new world order is seeping in.

The Monitors also makes good use of its supporting cast. Notably, Shepperd Strudwick as the President speaking on behalf of the alien civilization strikes the right balance between charisma and an intriguing sense of inevitability. Tarkington, played by Avery Schreiber, is a musician who comically aspires to be part of the rebellion and keeps the audience entertained with his cockeyed optimism and outlandish plans.

The true strength of the film lies in its commentary on the nature of control. There are moments that provoke the viewer to question the very nature of freedom as the Monitors' peaceful endeavors draw parallels with the authoritarian regimes that were in power around the world during the late 1960s. The film cleverly destabilizes the viewer's comfort zone by depicting a paradoxical world that is freed to the point of bondage.

The artistic production design deserves considerable praise. The Monitors effectively presents a subtly altered version of our world, one that has been seemingly sanitized of its free spirit. The cinematography creates a dystopian world with visual symbols of a pacifist yet overbearing regime. Vibrant colors contrast with sterile environments to provide an uncanny, surreal feel to this impending "utopia".

The Monitors, while initially may appear as a quirky amalgamation of comedy and socio-political commentary, becomes an insightful look at the concepts of freedom, peace, and control. It's a film that skilfully maneuvers the uncertain terrain of dystopian future while making viewers ponder upon the choices they would make under similar circumstances. This 1969 classic endures due to its evocative storytelling, powerful performances, and its clever take on some of the most fundamental questions about the human condition.