Wells' story ends with a sigh at Mankind's ultimately insignificant place in an indifferent cosmos. It's a Boy's Own adventure complete with handsome square-jawed inventor undertaking a journey through the Fourth Dimension to a new world complete with monsters, fisticuffs, rescues, escapes, and a keen awareness of our protagonist's superiority to the poor benighted heathens in his midst.
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While Wells' story is social class commentary wrapped within a stark narrative fable, Pal's movie is a brightly colored sweetmeat with all the indicting political ideology of a buttered scone. The Time Machine, the movie produced and directed by George Pal, reflects a very different time and a very different audience. To Wells' fellow fin-de-siécle Victorian intelligentsia, the contemporary social issues magnified for easy dissection in The Time Machine (and throughout Wells' career) pointed to a human race doomed by its own animal nature and trapped within the engine of capital-N Nature, which is as he later described the minds of his Martian invaders "vast and cool and unsympathetic." It is a scene lit by loneliness and failure and Ozymandian futility. Here the final, gasping breath of evolution, human and otherwise, is embodied in a single tentacled creature on a beach beneath a bloated red sun at the twilight of the world. The delicate and placid Eloi descendants of the wealthy and privileged live in edenic bounty and "feeble prettiness" on Earth's surface (in the space that had been the Time Traveler's home, in fact), unaware that they are merely bred and fed to become food for the Morlocks descendants of the working class who have devolved into cannibalistic subterranean brutes feeding off the do-nothing, illiterate "Upper-world people." Near the novel's end is a beautifully rendered scene set eons later still. In the book, the unnamed Time Traveler tells of his voyage to the year 802,701, a time in which humanity has degenerated into two species sculpted not by God but by nature's indifferent efficiency. A self-made social reformer who climbed up and out from brutal working-class poverty, Wells sought to deliver a trenchant "If this goes on" message. Wells, after all, didn't set out to write merely an entertaining page-turner. The Time Machine, the debut novel of a young, ideological Herbert George Wells, reflects its author's bleakly dystopian, anti-capitalist worldview in a Darwinian cautionary parable. He, I know for the question had been discussed among us before the Time Machine was made thought but cheerlessly of the Advancement of Mankind, and saw in the growing pile of civilization only a foolish heaping that must inevitably fall back upon and destroy its makers in the end."
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"I, for my own part, cannot think that these latter days of weak experiment, fragmentary theory, and mutual discord are indeed man's culminating time!. The Time Machine (1960) Warner Home Video Starring Rod Taylor, Yvette Mimieux, and Alan Young Written by David Duncanīased on the novel by H.G.