Lost To Time: The 1978 Version of H.G. Wells' "The Time Machine"
"The Time Machine" is a seminal work of science fiction penned by H.G. Wells and published in 1895. This groundbreaking novel follows the journey of an unnamed “Time Traveller” (sic) who constructs a machine capable of traversing the fourth dimension. Venturing into the distant future, he encounters two divergent species: the passive Eloi and the predatory Morlocks. Through this narrative, Wells explores social and evolutionary themes, critiquing Victorian society’s class divisions and contemplating the fate of humanity. The Time Machine not only popularized the concept of time travel in literature, but also established Wells as a pioneer of speculative fiction, influencing generations of writers and thinkers to come.
The Time Machine by H.G. Wells
George Pal, born in 1908, in Hungary, was a pioneering filmmaker renowned for his contributions to the science fiction genre. Beginning his career as a puppeteer, Pal swiftly transitioned to animation, creating innovative stop-motion shorts that earned him international acclaim. His move to Hollywood in the 1940s led to the establishment of his own production company, where he produced a series of successful Puppetoon shorts before venturing into feature films. Pal’s talent for blending imagination with cutting-edge special effects culminated in iconic sci-fi classics such as "Destination Moon" (1950) and "The War of the Worlds" (1953). However, it was his adaptation of H.G. Wells’ The Time Machine (1960) that solidified his status as a visionary filmmaker. Throughout his career, Pal’s inventive storytelling and pioneering techniques left a deep mark on cinema, inspiring generations of filmmakers and fans alike.
The 1960 George Pal Time Machine stars Rod Taylor as the intrepid Time Traveler and features Yvette Mimieux as his captivating love interest, Weena. With a budget of around $750,000, the film utilized innovative special effects to bring H.G. Wells’ visionary tale to life. Upon its release, The Time Machine garnered critical acclaim and commercial success, grossing over $3 million at the box office. It remains a beloved classic in the science fiction genre, admired for its captivating storytelling, memorable performances, and imaginative portrayal of time travel.
Rod Taylor as “The Time Traveler”. George Pal’s “The Time Machine” (1960).
The 2002 film adaptation of The Time Machine was directed by Simon Wells, the great-grandson of H.G. Wells, whose original novel inspired the film. Wells brought his skills as an animation director—Balto (1995), The Prince of Egypt (1998)— and designer—Spirit: Stallion of the Cimarron (2002), Kung Fu Panda (2008)—to the project’s visual style. This familial connection brought a unique perspective to the production, ensuring a degree of fidelity to the source material, while also allowing for creative reinterpretation.
The 2002 version employed cutting-edge visual effects to bring to life the intricate world of time travel and the futuristic landscapes encountered by the protagonist, Alexander Hartdegen, played by Guy Pearce. Like the 1978 version, Simon Wells moved the story to North America, but didn’t go as far in “Americanizing” the character and story. The production design, led by Oliver Scholl, captured the contrasting atmospheres of Victorian-era New York City and the distant future with meticulous attention to detail, immersing audiences in a visually stunning journey through time.
Upon its release in March 2002, The Time Machine received mixed reviews from critics and audiences alike. While praised for its visual spectacle and inventive re-imagining of the classic story, some viewers found fault with certain deviations from the original novel and criticized the pacing and the plot. Despite these criticisms, the film garnered a dedicated fan base and achieved moderate success at the box office, ultimately solidifying its place as a noteworthy entry in the canon of science fiction cinema. Over time, The Time Machine has endured as a visually striking and thematically rich exploration of time travel, continuing to captivate audiences with its blend of adventure, philosophy, and speculative fiction.
Guy Pearce starred as “The Time Traveler” in the Simon Wells 2002 production of “The Time Machine”.
The 1978 Time Machine was an American made-for-television science fiction-adventure film produced by Sunn Classic Pictures—who brought us such notorious “documentaries”as The Search For Noah’s Ark and The Mysterious Monsters. The Time Machine was a part of their Classics Illustrated series, and was broadcast November 5, 1978, during the November “Sweeps” on NBC, an annual period of intense competition between television networks for Nielsen ratings.
The Time Machine (1978) begins in a similar vein to its predecessors, introducing us to the brilliant and somewhat reclusive inventor, the Time Traveler. However, unlike Rod Taylor's portrayal in the 1960 adaptation, John Beck takes plays a more overtly heroic, and definitely Americanized, version of the Time Traveler, here named Dr. Neil Perry. Beck approached the role with a more rugged performance that blended curiosity with a sense of agency and determination.
Unlike the 1960 George Pal version, the particulars of the narrative setup in the 1978 film differ drastically from the novel: the Time Traveler is a 1970’s scientist, working for a fictional US defense contractor, “the Mega Corporation”. Dr. Neil Perry is described as one of Mega’s most brilliant contributors—his skills are demonstrated by rapidly reprogramming an off-course satellite, averting a disaster that could have destroyed Los Angeles.
The portrayal of the time machine is another area where the 1978 movie diverges significantly from both the novel and the 1960 film. While Wells described a rather minimalist, sled-like apparatus, and the 1960 movie presented a Victorian-inspired, ornate contraption complete with brass fittings and red velvet, the TV movie opts for a more utilitarian design. This choice reflects the 70’s futurist aesthetic, focusing on functionality over form, which aligns with the era’s broader design trends, seen in films such as Star Wars (1977) and Alien (1979). This is also the only version in which the machine travels in both space and time.
Neil Perry refuses to help the Mega Corporation devise supposedly “defensive weapons” of mass destruction, and flees in his time machine to discover what effect this new technology will have on the earth, in hopes of persuading the Corporation to cancel their program.
Here we have the most radical departure from the Wells and Pal: this is the only adaptation to send the Time Traveler backwards in time. While the 2002 production does send the Time Traveler back two years along his own time-line, it doesn’t really explore a past period remote from his present. The 1978 version actually devises adventures for Neil Perry: first to the Salem Witch trials, and then to the Gold Rush. These episodes are amusing but unnecessary, since Perry specifically sets out to explore the future.
Upon arriving in the distant future, the Time Traveler encounters the Eloi, a seemingly idyllic society living in an apparent utopia. The Eloi, with their gentle demeanor and simplistic lifestyle, represent what might first appear as the pinnacle of human evolution—freedom from struggle and hardship. However, this façade quickly unravels as the Time Traveler delves deeper into the reality of their existence.
The Eloi’s world is contrasted starkly with that of the Morlocks, subterranean dwellers who represent the industrial and technological forces that have become the underpinning of the Eloi's surface paradise. The dichotomy between the two societies embodies H.G. Wells’ profound commentary on social division, the consequences of technological advancement, and the inherent human tendency toward inequality.
As far as Morlocks go, this ain’t bad for low budget TV. Their faces are clearly pull-over rubber masks, and they wield Lightsaber-like daggers (an obvious nod to the previous year’s super-blockbuster, Star Wars), but this is the only adaptation to indicate the Socialist-style society of the Morlocks (Wells actually uses the term “Communism” in the original story), clothing the Morlocks in drab, Soviet-era communist overalls! A bit on the nose, but effective. In both the 1960 and 2002 adaptations, the Morlocks are portrayed as mutants, more like Peter Jackson’s version of Orcs than anything that was ever human. Wells describes the Morlocks as “white things” with “small hands”.
2002 Morlocks.
The Time Traveler's quest to understand what the future might hold leads him to a terrifying realization about the fate of humanity. His journey into the depths of the Morlock's domain, an act driven by both necessity and a thirst for knowledge, unveils the grim reality that the Eloi are not partners in this society, they are livestock, maintained for the Morlocks' sustenance. This revelation serves as a critical turning point in the narrative, challenging the Time Traveler—and the audience—to reflect on the consequences, and moral implications, of technological and societal progress.
Like the 1960 adaptation, the character of Weena is used for a romantic subplot. This love story—present in all three film adaptations—is nowhere present in the original novel. Here, Weena is capably portrayed by Priscilla Barnes, who would go on to replace Suzanne Somers in the sitcom Three’s Company. Also like the George Pal film, the descent into the Morlock’s world is used for an extended action sequence, with lots of fights and explosions.
John Beck as Dr. Neil Perry and Priscilla Barnes as Weena. "The Time Machine” 1978.
The culmination of the Time Traveler's journey is marked by his decision to return to his own time, bearing the knowledge and burdens of what he has witnessed. Although this is the least of the three adaptations—even the 2002 film is better—it does do the best job of utilizing the pessimistic futurism of H.G. Wells to tie the time travel adventure to the contemporary setting. Perry has seen what will happen if the Corporation ever builds its apocalyptic weapons, and instead of fleeing that burden, attempts to address the issue, and change the future.
The Time Traveler's final interactions with his contemporaries, where he struggles to convey the complexity and gravity of his experiences, highlight the isolation that often accompanies insight and discovery. The jaded opportunism he faces nicely underscores the theme of human short-sightedness—and the reluctance to confront uncomfortable truths about our nature, and our future.
The 1978 TV Movie concludes just as the novel and other films do: with the Time Traveler returning to the future and Weena. The 1978 Time Machine is definitely worth seeking out and watching. It is a forgotten and underrated piece of 1970’s sci-fi cinema, with decent production values, a solid cast, and the best of intentions. While nothing can eclipse the 1960 George Pal classics—with its beautiful visuals and inventive visual FX—this long-lost version is essential viewing for H.G. Wells fanatics and sci-fi film fans alike.
