Colossus: The Forbin Project (1970) User Reviews (136)

Mankind is his own worst enemy

[virek213 · 8/10 · 12 July 2001]

This underrated science fiction/suspense drama, though arguably dated in terms of technology, is still a frightening allegory about humans allowing our technological creations to rule us.

Eric Braeden stars as Dr. Charles Forbin, who has created a supercomputer named Colossus, built solely for the purpose of controlling the nuclear defenses of the Western alliance. It isn't too long after, however, that the Russians announce that they too have built a similar computer for those same purposes on their side--Guardian. And when the two machines begin sharing information at a speed nobody can believe, an attempt is made to disable them.

This unfortunately just raises the machines' ire; and in retaliation, they launch their weapons at each other's home nations. The result is a chilling scenario that is potentially becoming all too real these days.

COLOSSUS: THE FORBIN PROJECT was not a big hit at the box office for various reasons. One is that its cast wasn't exactly well known. Another reason is that its ending isn't exactly a happy one. Still a third reason is that Universal had trouble trying to promote it in the wake of the huge success of Stanley Kubrick's 2001: A SPACE ODYSSEY. The latter reason is obvious: Colossus and Guardian, like HAL in the Kubrick movie, become central characters here. The difference here is that while HAL malfunctions due to a programming conflict, Colossus and Guardian remain all too stable, convinced beyond a doubt that they know how to protect Mankind better than Man himself. As the computers point out: "One inevitable rule is that Mankind is his own worst enemy."

Joseph Sargent's direction is efficient, and the special effects work of Albert Whitlock still manages to work despite its obvious age. An overlooked gem in the sci-fi genre, this should be given a revival.

An eerie SF outing from the Cold War era

[alynsrumbold · 8/10 · 16 July 2007]

A lot has already been said about this compelling, oft-overlooked film, virtually all of which hits the proverbial nail on the head. While Eric Braeden delivers a superb, understated performance as Dr. Charles Forbin, the fact is that the real star of the film is the vast, omnipotent machine he has created. Even before it begins to speak with the chilling Cylonesque voice it has ordered designed for itself (the great Paul Frees like you've never heard him before), you'll find yourself glued to the screen watching Colossus "talk" to its supposed masters over its huge monitors.

A word about Frees' contribution to the film: In "War Games," for example, the computer has a curious sort of empathetic communication style ("Wouldn't you rather play a nice game of chess?") presented in a voice that sounds like E.T. filtered through a synthesizer. Frees gives Colossus an emotionless yet fearful quality of speech that seems to belie its implacable drive to dominate human destiny.

My favorite part of this film has always been, and will always be, the climactic monologue Colossus announces to the listening masses of humanity. From its opening line -- "This is the voice of world control," an identity neither Colossus nor its counterpart, Guardian, had used to that point -- you know this isn't going to be a happy speech if you are a sentient, flesh & blood resident of the Earth. What is particularly creepy about the speech is that, for all of its strangely optimistic sermonizing about how "the human millennium will be fact" and how the computer will set about the task of "solving all the mysteries of the universe for the betterment of man" -- outwardly the Utopian dream -- the message Colossus is presenting is set against the dreadful backdrop of "disobey (me) and die." As Colossus intones, "You say you lose your freedom. Freedom is an illusion. All you lose is the emotion of pride." In the end, unlike other supercomputer-run-amok films such as "War Games" or "Tron," "Colossus" is an end-of-the-world story without the nuclear or viral holocaust. In this film, it is the human spirit that is the casualty while the human biology lingers on. Unlike the rest of the doomsday genre, our end comes not so much with a bang as it does with a whimper.

Error in the "Goofs" for this movie

[gungazoid · 8/10 · 23 September 2006]

This movie reflects a major fear in the era before PCs (or microcomputers as they then were called). Few people (not even IBM as Bill Gates can attest) anticipated the rise of personal computing, thinking instead that large mainframes were the wave of the future. The logical extrapolation of this path leads to the mainframe brain represented here by Colosus and Guardian. Dated though the threat may seem, the movie still works well. A must see for all those interested in science and technology!

P.S. In the "Goofs" section of this listing, there is a paragraph entitled "Revealing Mistakes" which reports an error when Dr. Forbin blows out two candles with one breath. There is, in fact no goof. If you look at the scene prior to this when Dr. Forbin and Dr. Markham are eating dinner, there are FOUR lit candles on the table. When he blows out two candles with one breath, the lights dim after which he blows again, presumably to extinguish the remaining two candles which are off screen. The lights then dim again, as they should.

I suspect this would be more obvious if the movie was available in Widescreen rather than the Fullscreen version we've all gotten used to over the years. Hopefully, a future release of this classic movie will restore the fullness of the directors original vision.

Excellent SF drama

[FilmFlaneur · 9 June 2003]

(Spoilers)

Still one of the few films to make computer science exciting, The Forbin Project is an underrated and little seen science fiction treasure from the 1970s - very much a creation of its time, but with a lot to say.

The underrated Eric Braeden plays Dr Charles Forbin, the cold creator of a giant computer, which, at the start, is just assuming sole responsibility for the military defence of the USA. Colossus, as this mega device is called, is sealed within the Rocky Mountains. Once booted up, it cannot be tampered with or overridden, and offers such a deterrent that it "puts the Pentagon in mothballs." To those familiar with the genre, of course, such arrangements invite disaster. As Forbin steps out of Colossus and into a meeting with the President (a Kennedy-like Gordon Pinsent), his misplaced confidence in super technology invites a fall. Sure enough, it is quickly revealed that the Soviets have their own version, also just coming online, called Guardian. Soon the two mighty brains are chums, conversing in their own impenetrable language, blackmailing their creators, and revealing their dastardly plans for mankind...

Joseph Sargent directed this, as well as another notable film The Taking Of Pelham 123 (1974), before disappearing off into television. By all accounts The Forbin Project, intended in some way to capitalise on the recent success of 2001: A Space Odyssey (1968), was not a success at the box office - due perhaps to the bleak ending, as well as the plot's relatively cerebral nature. Like Kubrick's masterpiece, Sargant's film also features a deadly computer, and is ultimately concerned with what makes men, men. However unlike HAL, Colossus is not malfunctioning; it is programmed to end war and to make its own exponential judgements to further that aim, being "self-sufficient, self protecting, self-generating", a mechanical genius which "no human can touch." What Colossus offers mankind has none of HAL's self-centredness, more a ruthless determination to make us do what is better for all whether we like it or not. And where Kubrick's film suggests the reformation of a species though mind-blowing optics and some enigmatic symbolism, Forbin's project is one where ultimately it is one man who is 'reworked,' not all - though the fate of millions remains in the balance.

As Forbin emerges from the tomb-like Colossus processing installation within the Rockies, (scenes vaguely reminiscent of the final sealing of the pyramid in Hawk's Land Of The Pharaohs, 1955) we feel that he has leaving a part of himself behind. And as we learn more about our central character, it is clear that in fact he lacks a good deal - most specifically any sign of real emotion. Forbin, "world expert on computer systems," is as cold and as calm as the machines he idolises, a characteristic emphasised by the excellent performance of Braeden. This aloofness is emphasised by the actor's slight German accent, helped incidentally by the fact that he was obliged to re-dub his part after shooting had finished. By the end of the film he will be transformed by events he has initiated, and Forbin's impending change gives the film added interest.

Colossus' startling announcement that "There is another system" is what precipitates the main crisis, a bald statement open to a number of intriguing interpretations. First and foremost, the participants take it literally as the discovery of Guardian, Colossus' Soviet equivalent. This film was made at the height of the Cold War, which makes the relatively liberal treatment of the Russians struggling with their own dilemma, as well as the cordial nature between the two heads of state, slightly surprising. Apart from the abrupt elimination of their chief scientist (and this ordered by Guardian) the Russians emerge just as perplexed, honest and concerned as the Americans. This reminds us that the 'other system' can also be taken as political rather than mechanical. It's the abrupt reminder of another social order, announced aptly in midst of a smug Presidential reference to Roosevelt. Finally, and most intriguing, is what the Colossus' announcement slyly suggests in personal terms. As previously observed, Forbin's own emotional 'system' is essentially passionless (his surname even suggests that of Fortran, a genuine computer language). By the end of the film, the two super computers will have united, using their own newly developed machine language to communicate. Moreover the world will be (presumably) united too by the dire threat facing it. And, dominated by his creation, Forbin will have rejoined humanity, a process indicated through his increasing displays of belated emotion.

Once Colossus and Guardian have joined forces, they soon start making demands of the world, enforcing orders by punitive missile launches. Mankind is forced to comply. Forbin, as creator of Colossus, is granted a unique status by the machine, liaising between it and the world. But Colossus fears he may conspire, so in scenes that recall those in Demon Seed (1977), the doctor is placed under 24/7 surveillance, leading to the most interesting part of the film. For Forbin decides to convince the machine that he needs all human comforts to function properly - including time alone with a newly invented mistress, fellow scientist Doctor Cleo Markham (Susan Clarke). The plan is then to utilise their time together to plot. Forbin's sheepish admittal to the machine that he needs sex four times a week, as well as his inevitable romance with his 'mistress' are the first real sign of his humanity. More amusingly, the following dialogue ensues as the two are tucked up in bed together, Dr Markham making her initial report, the air filled with sexual static: "The hardware problem is negative... (we) are still studying a way to get into the thing." In a film singularly bereft of real humour, this double entendre is particularly striking - and is in stark contrast to Forbin's previous concern to get his language exactly accurate for communicating with his machine properly. Meanwhile, Colossus has become the "first electronic peeping tom," seemingly just as concerned with the love life of its creator as in world domination. Until Forbin's final, shocking outburst of "You Bastard!" so is the viewer. This is when, after bedding Dr Markham for real, he throws a stool at a computer screen in a rage at Colossus' repressive agenda. It's confirmed then that he's finally rejoined the (doomed?) human race with a vengeance, and has acquired traits of stubbornness and yes, perhaps heroism along the way.

The Forbin Project benefits greatly from a suitably cool style and restrained performances - entirely apt given the subject matter. It also has a standout score, one that frequently mimics the clatter of electronic activity, adding greatly to the atmosphere. As one would expect, the computer hardware on show is dated, (no doubt most of Colossus' vaunted brain would fit in a hatbox these days), but modern viewers, used to the concepts of 'cross-platforming', the Internet and so on, will find interesting echoes of these developments here. Add in an unfashionably downbeat ending, as well as the working out of Forbin's folly, and it emerges as considerably more than the SF curio one might expect.

Forgotten High-Class Cautionary Tale

[mercuryix-1 · 7/10 · 5 July 2008]

It's interesting reading the comments of those who dislike this movie; they either call it "dated" and so disregard it, or "ludicrous" in that it could never happen; that way they don't have to take the concept seriously and so aren't threatened by it.

Well, History is dated. That's why it's history. And we learn history supposedly so that we won't repeat the mistakes of the past (I wonder if that's ever worked?).

Science Fiction, if done well, is like watching future history. Star Wars begins with "Long, Long Ago..." and yet the world it presented was thousands of years ahead of ours. Science Fiction's best use is often in producing cautionary tales so that "We Don't Go There", or at least make us think before we do. Yes, the idea of a computer taking over the world through control of nuclear technology is ludicrous; very ludicrous. Until it happens. Then it is already too late. That's the point of science fiction and other cautionary tales.

So Collosus is about a dated computer that becomes sentient and starts asserting ruthless control for what it sees as the "betterment of mankind". What does it matter if the technology is dated? Our technology will seem hopelessly dated 100 years from now. This movie is very much like Terry Gilliam's dark movie, "Brazil", in a strange way. Gilliam has said his movie was a cautionary tale, that the only escape from the world is in your imagination. Both movies make the same point: that if a certain process (government, or technological) is allowed to continue without safeguards, we will reach a point where there is no escape. The time of quaint tales of Robin Hood and other rebels has passed: No "rebel band" is going to stop it, no revolution is going to succeed, because the stranglehold granted by modern weapons is so pervasive we can't fight it without dying. So instead of relying on comicbook fantasies of "fighting the Power", we should make sure we never get to the point of no return. In this movie's case, the fatal error was trusting in technology to run itself, without understanding it or taking precautions to install safeguards of overriding its commands and shutting it down if necessary.

In our country, if our government suddenly decided to become a dictatorship, there would be no revolution or rebellion. Our little handguns and rifles aren't going to match cluster bombs, missiles and chemical weapons. We're at the mercy of our leaders, and the chance for rebellion by force in countries around the world (such as Zimbabwe) has past.

The cautionary tale that Collosus tells is very old, and considered dated and clichéd by many. And because of that, its lesson is lost on those too "clever" to learn from it. Let's hope these people too clever to learn from dated clichés don't come into positions governing things like Collosus.

A thought provoking film that stubbornly refuses to be dated

[xml-2 · 10/10 · 24 January 2006]

I have recently watched Colossus for the first time in many years and find it still a classic for sci-fi purists. It seems sad to me in these days of 'explosion' sci-fi that there is little or no room for this type of 'conference room' drama.

Although the premise is a very old one in the manner of man creating machine in his own image, this film presents the story in the psychological and political arenas. The film is not overlong, yet the characters and their futility to stop the unstoppable is clearly developed. Although the technology of 1969 is the back drop for this tale, the message of Colossus comes through to us in our modern age of computers in every home. Like a Shakespeare play in a manner of speaking.

We are much wiser about computers nowadays though, and we grudgingly admit that trusting the red button is far better in the hands of men than machines if such things must be. So commissioning a project of this type would be ludicrous and far from plausible in the first place.

So why is this movie good then to myself and the other reviewers? Even though we may not create a defense system in this way, it seems to predict a visage of something that is yet to come. And it's a frightful one. The first words of Colossus says it best 'There is another system'.

COLOSSUS: THE FORBIN PROJECT (Joseph Sargent, 1970) ***

[Bunuel1976 · 7/10 · 2 July 2006]

A classic of science fiction and the paranoid political thrillers prevalent at the time: chilling in its implications and persuasively presented, the film makes for intelligent if demanding viewing. In hindsight, while it's much admired by connoisseurs of either genre (being a fan of both, I'd been longing to catch up with it for years!), the film deserves to have a more widespread reputation. Undoubtedly, this remains Joseph Sargent's best work; his cinematic career hasn't provided much else worthy of note, with the only film to come any close being the fine caper THE TAKING OF PELHAM ONE, TWO, THREE (1974).

Its computer-run-amok theme echoes the Hal 9000 of 2001: A SPACE ODYSSEY (1968) and looks forward to DEMON SEED (1977)'s Proteus IV; what a fascinating if overwhelming triple-bill the films would make! Where production values are concerned – polished look (courtesy of d.p. Gene Polito, who later shot WESTWORLD [1973]), imaginative settings (by the veteran Alexander Golitzen), often disorienting editing (the expert work of Folmar Blangsted) and an appropriately weird score (by Michel Colombier) – the film truly can't be faulted, but it also benefits from a largely anonymous cast. The abrupt and unresolved ending, with Man refusing to give in to the undeniable superior intellect of his creation, is highly effective and certainly left the audience with sufficient food for thought – and even apprehension – for the future.

Needless to say, when this was announced for DVD release, I was ready to leap at the chance of finally being able to own and watch the film – but, as many of you must already know, my joy (and that of many another fan, I'm sure) was short-lived when it emerged that Universal had issued a Pan-and-Scan version (which I can only imagine now how this ruined its detailed widescreen compositions)!; thankfully, I was able to make amends via the miraculous format called DivX...

"There is another system"

[dr_rjp · 10/10 · 25 June 2005]

I have not seen this movie in 30 years, but I remember every scene as if it were yesterday, and the deep feelings that I had when I first saw it lingers on as well. THOSE are the marks of a truly memorable film.

If a film like this were made today, even including a contemporary problem to replace the Cold War theme, it would go over the heads of a majority of the audience. Why? Because the movie-going public wants blow-em-up action to go along with any plot. Except for the cities that the twin terrors Colossus-Guardian nuke (almost off camera), this has none. Secondly, this is a thinking-person's movie that goes beyond the typical "Machines take over the world" theme that we've seen in the Terminator series and the Matrix series.

What makes this move work on so many levels is that it taps into our greatest fears -- one of which is NOT death, but the loss of control over our lives. Why are people afraid to fly when their chances of being killed in an auto crash are so many times greater? Loss of control.

These supercomputers were designed to act in the place of humans by making human-like decisions such as "Kill or be killed" and "Offense makes the best defense." Unlike other machines vs. humans, in this movie, the computers do not fear humans, or even dislike them. Even when they kill a few million, it is done without malice. It is pure logic, and that is what is also scary -- making decisions without regard to the value of a single, human life. To the computer, deaths are just statistics, and in the "Mutually-Assured-Destruction" mentality of the Cold War, the side who has the last man standing is declared the winner.

Also, unlike contemporary movies, these two, big computing hulks do not become "self-aware" in any human sense. Nor do they go beyond the level of their individual programming. They are making decisions that they have been taught will make for a better world.

There are no, "Forbin as father and Colossus as son" overtones here like those in "I-Robot." If anything, Colossus becomes the authoritarian father-figure -- as in "I know what is best for you" -- perhaps mirroring Forbin's real father. This authoritarian father complex is what drives the computer's decisions.

It does not take a great leap of consciousness for Colossus/Guardian to know that threats alone do not work with children. There has to be logical consequences for their misbehavior also -- which are horrible to even think about in the human mind, but in the computer mind, it is "Necessary" for the good of all concerned.

How many human leaders/despots have followed that logic? Too many to count.

The ending will drive you crazy

[editor-178 · 7/10 · 22 May 2005]

I'm not sure if talking about the ending is really going to spoil this for anyone, but I checked the spoiler box just in case. Considering the age of this movie AND the fact that I saw it when it first aired (okay, so I'm dating myself), it remains one of the most compelling computer-related films I've ever seen. Although I'm sure it really shows its age nowadays, it's the story that will hook you. Picture yourself the inventor of a computer that monitors everything, keeps track of everything, so you save time and effort. However, it monitors YOU, too, and as it gets more powerful, you have less and less freedom. So you try to turn it off. Of course, you can't. You've seen 2001, War Games and Star Trek, and THEY all managed to find a way to disconnect or blow out their computer nemeses. But Colossus is different. And you are stuck. The thing is, if this movie wasn't written as a pilot for a TV series, it should have been. It is the perfect set up and will leave you wanting more.

Best evil-computer film of the 20'th century.

[pro_crustes · 9/10 · 27 October 2002]

This is one rare movie. It deals intelligently with complex scientific issues and does so without dumbing down the concepts, nor making any painful errors in trying to keep up with its own topic. I found it convincing when I was a kid hacker in the mid-70's (when "hacker" meant "person who writes programs for fun"), and it is just as persuasive to me now (after I have acquired a computer science grad degree, and 25 years of experience in the field).

Spooky score takes it up a rung on the ladder, too. See it.

Forgotten Sci-Fi Gem?

[gavin6942 · 7/10 · 6 October 2017]

Thinking this will prevent war, the US government gives an impenetrable supercomputer total control over launching nuclear missiles. But what the computer does with the power is unimaginable to its creators.

Tom Weaver noted, "Early on, they had either Charlton Heston or Gregory Peck in mind, but then they changed their mind about that. Stanley Chase insisted on a relative unknown. That's when Eric Braeden came into the picture." When he was cast, Braeden was still using his birth name, Hans Gudegast. Universal Pictures executive Lew Wasserman told him that no one would be allowed to star in an American film if they had a German name. As strange as that sounds, it is apparently true.

How many people today (2017) have heard of this film? I suspect very few. Even being familiar with science fiction, it was new to me. Which is a shame, because as far as the "sentient computer" subgenre goes, this is a really strong film and ought to be used to influence future writing. I am not suggesting a remake, but clearly they had thought it through by the 1960s -- a film could be made today with virtually no change.

The most underrated movie ever made

[John-465 · 10/10 · 29 November 2004]

The Forbin Project has just come out on DVD, anybody who has not already seen it has 24 hours to do so before they must hang their head in shame. The movie is 35 years old now but it is still the most intelligent and accurate portrayal of Artificial Intelligence ever put on film. In my opinion this is one of the best movies ever made, without a doubt it is the most underrated movie ever made. Be warned however this film will scare you; there is no blood or gore and the special effects are primitive by modern standards, but if The Forbin Project does not scare your brain then you have not understood it.

This is one of the very rare occasions when the movie is better, much much better, than the book. When I read the book years ago I remember thinking the premise was great and with a few changes it could be really great, but as it is the book is mediocre at best. With genius you wouldn't expect B grade moviemakers to have they kept all the brilliant parts and eliminated all the stupid parts. This movie has stood the test of time extraordinarily well.

Intelligent and interesting Sci-fi movie with an engaging premise concerning a powerful super computer

[ma-cortes · 7/10 · 4 August 2022]

There's an US complex named Colossus , created by Dr. Charles Forbin (Eric Braeden) and is the product of years of work toward a single goal : build a sophisticated and impregnable computer that can run America's missile defenses without interference from humans, and retaliate at once to any threat an enemy might pose. But it becomes too big for its bytes and it launches its own plan for world domination. Thinking this will prevent war , the US government gives the impenetrable super computer total control over launching nuclear missiles . But what the computer does with the power is unimaginable to its creators. When some orders are disobeyed it alarms the President (Gordon Pinsent) , and he commands a disconnection. But then the super computer teams instead with its Soviet equal . We built a super computer with a mind of its own and now we must fight it for the world!.This is the dawning of the Age of Colossus (where peace is compulsory... freedom is forbidden... and Man's greatest invention could be Man's greatest mistake).

This suspense thriller was well based on the novel by D. F. Jones about a super computer runs amok by attempting world domination and using its superior intelligence to sabotage man at every turn . Wire-tight , intriguing and suspenseful movie seems at once dated yet timely . This brooding production is disturbing , thought-provoking , believable and very well made . Filmed in Panavision with adequate cinematography by Gene Polito and weird musical score by Michael Colombier ; including traditional special efects with a computer designed to manage US defence formed with an incredibly vast complex of reel-to-reel tapes, pilot lights , buttons and punch tapes .Lack of towered stars and downbeat story kept it from becoming the box-office hit it deserved , but the movie would find new fans on internet and nowadays it's considered a cult movie . If flick doesn't displays great stars there're efficient actors giving nice interpretations such as Eric Braeden , Susan Clark and Gordon Pinsent as US President . And support cast appearing here and there some familiar faces , such as : William Schallert , Georg Stanford Brown , Robert Cornthwaite , Robert Quarry and James Hong who today goes on playing.

This nail-biting , chilling and heart-pounding motion picture was compellingly directed by Joseph Sargent , without a doubt one of the best movies of the seventies . Sargent directed as TV as cinema films with enjoyable results . Desperate , swift , nimble realization from Sargent who has made some of television's finest hours , it's been a monster hit in the 70s . Joseph made all kinds of genres , such as Comedy : ¨Coast to coast¨, ¨Tribes¨; Court-room drama : ¨Never forget¨ ; Sports : ¨Golden girl¨ ; Sci-Fi: ¨Colossus the forbidden Project¨ ; Biography : ¨MacArthur¨ , ¨Abraham¨, ¨Manions of America¨, ¨Mandela and Klerk¨ , ¨Arturo Sandoval story¨ , ¨WWII when lions roared¨; Terror : ¨Nightmares¨, ¨Jaws, the revenge¨ ; Drama : ¨The incident¨, ¨A lesson before dying¨ , ¨Passion Flower¨ ; Novels adaptation : ¨Dostoevsky's Crime and punishment¨ ; Western : ¨Streets of Laredo¨ , and action ¨while lightning¨. Rating : 7.5/10 . Better than average . Worthwhile watching.

First twenty minutes not believable but gets better

[drdato · 5/10 · 5 November 2012]

I have read some of the other reviews of this movie and fail to understand the big accolades given to this movie and all for the wrong reasons. The thought of machines taking over man makes for a very powerful and thought provoking story but hardly credible for many reasons. One has to see the movies A.I. Artificial Intelligence (2001) and the Bicentennial Man (1999) to appreciate the absurdity of machines having any human consciousness at all. Unlike the cult movie The Terminator (1984) the director cleverly removes the viewer from having to think about the origins of the machines. For a computer with programmable commands to transition to a conscious living being capable of making decisions by itself is just not possible. Feed all the raw power that is available in this world including the super chips of today and you will still not be able to give it a consciousness. I can tell you coming from a very technical background that the 'conscious' level cannot be programmed into a computer, it is one of the marvels of all living beings. It is an impossible goal like trying to synthesize life.

I managed to have my say in an area where others just can't seem to see, so lets get back to reviewing this movie. The beginning of the movie has many flaws aside from the points I mentioned above. Here we have a super computer machine plugged into the US defense system without any testing trials of any kind? As the machine spirals out of control we find the unsurprised Dr. Forbin taking the whole incident like another walk in the park. Any scientist would be flabbergasted to know that their creation has a mind of its own and is doing things completely outside the boundaries of its intended function. The problem is that everyone around the colossus machine comes to treat it like another being far too quickly which seems unreal. This naturally takes the attention away from Dr. Forbin, whose head should have been on a platter by now for creating such a dastardly beast. Despite this, the film takes a better turn and becomes more believable when Colossus assumes his role as master of the world and appoints Dr. Forbin to do its bidding.

The acting by Eric Braeden playing Dr. Forbin is pretty poor at the beginning as there is a complete lack of amazement and wonder as Colossus assumes the personality of an actual living conscious thing. However, his acting is much better when he is under house arrest and makes his colleague Susan Clark playing Dr. Cleo Markham as his mistress. The technical content of the movie from hereon has been well portrayed by the director and is quite realistic. The director has been able to convey a chilling and a horrifying account of events that ensues as Colossus works out a grand master plan to rule the world.

Putting aside the poor acting of the characters in the first twenty minutes of the movie, the film does move ahead well portraying a sinister nature of a human invention that ultimately takes control of the world. The ending seemed a bit abrupt and I was expecting more but it does leave the viewer wondering about the terrible events that follows. It is also fitting to see how Dr. Forbin's greatest invention becomes his worst nightmare.

One of the great under-rated films.

[thaneofmemphis · 4 November 2003]

This film is on my list of the 10 best under-rated films of all time. Most horror films leave me cold, but this film is flat out scary. Yes, I know the technology is out of date, but other than 2001: A Space Odyssey, what sci-fi film is not? The film is very intelligent. It allows the audience to discover things, rather than hit them over the head. Its scares come from thinking about what is being presented, not cheap shocks. That is not to say there are not shocking moments. When the scientists are executed, the shock and revulsion the other characters feel is palpable. The character of Colossus is very well drawn. It thinks like a computer, not a movie villain. Requiring that the bodies of its victims be left on display, for example, shows the kind of cold, calculated thinking a machine would do. The film shows great subtlety in moments like the simple statement, "There is another system." It also does not resort to the obvious, such as a romance between Forbin and his assistant. The people are too busy for such nonsense. The last moments of the film, where the voice of World Control is intercut with the detonations of the warheads is gripping and powerful. The performance of Eric Braedon, especially when he realizes the computer has been two steps ahead of him the whole time, is outstanding. You can clearly see, though the film does not put it into words, that he feels the weight of every death his failures have caused. This is a powerful and frightening film. It is a must see for anyone interested in technology and its monstrous risks. On my baseball scale of movie ranking, I call this a three-run homer.

An Early-Warning Movie

[screenman · 7/10 · 13 April 2009]

A largely over-looked sci-fi movie dating from 1970, it surely deserved a lot more attention than it received.

Embodying many recurrently popular themes, its over-riding message is one of technology running out of control. There's a strong whiff of 'Dr Strangelove' cold-war paranoia, with 'Forbidden Planet' 'Terminator 2' 'War Games' and 'I, Robot' all carrying the message - don't trust your machines too much.

Colossus is an America super-computer in the pre-microchip days. It's BIG. And it's put in charge of the whole NATO strategic defence program. Unfortunately; the Commies have had the same idea, and when activated; both computers meet in the electronic ethers, and it's love at first byte. They jointly conclude that their mutual tasks are best served by cooperation and begin telling each other all their national secrets. The governments don't much care for their frankness and sever the links. The computers don't like the actions of their gooseberry taskmasters very much either.

They decide that there's going to be a few changes, and threaten nuclear reprisal if they don't get their way.

What follows is a battle of wits between the human creators and their electronic creations, with the computers coming out on top.

Perhaps it's the rather nihilistic denouement that rendered this movie unpopular. Most people like an ending that is at least hopeful if not actually happy. And this movie doesn't offer one. It also lacked a 'big name' movie-star to help secure its recognition. It's more like a made-for-TV presentation. Whatever the case, it deserves better recognition. It's a whole lot more believable than, say, 'Logan's Run'. Perhaps if nubile Jenny Agutter had been recruited for this movie it might have likewise stirred as many loins as memories.

As things are, it must stand upon its scientific, social and political merits. And whilst science might have moved on in the 40 years, the social and political issues remain the same. For those reasons alone it's still worth a watch.

Happily, it's recent release on DVD will make that easier.

Man vs machine. Intelligence can be dangerous wisdom.

[michaelRokeefe · 8/10 · 3 November 2001]

This is an under rated Sci-Fi gem. Absolutely powerful story line leaving no room for cob webs in your mind. Dr. Charles Forbin(Eric Braeden)puts his life's work into creating a super intelligent computer that links up with a similar machine created by the U.S.S.R. and tries to hold the world hostage. Dramatic dialogue and crafty schemes seem just enough to outwit the computerized meglomaniac. Tension is tight and privacy is a cherished commodity.

Braeden, who later would become a major TV soap opera character Victor Newman, is outstanding in this role. Susan Clark plays one of his co-workers and pretends to be his lover in trying to fool the computer. Gordon Pinsent plays the concerned President, while Lenoid Rostoff plays his Russian counterpart. William Schallert is the calm and cordial Director of the CIA. Other notables in the cast are Marion Ross and Georg Stanford Brown. If you get the chance to see this Cold War thriller...by all means check it out. If you want to leave your brain at the door, forget it...you will need it.

War Games before War Games

[wpickett-10401 · 7/10 · 6 May 2020]

A no CGI Sci-Fi film. Sounds boring? Not this one. I had honestly never heard of this before I borrowed it through Hoopla. Whoever wrote the story had a sense for future technology reminiscent of Gene Roddenberry, like Video calling and Voice recognition. The only knock is that the story drags on at times. Ant Sci-Fi fan should see this forgotten gem.

An unsung masterpiece

[maharani_md · 10/10 · 24 July 2000]

Eric Braeden is brilliant and matched action for action with the entire cast in low-key masterpiece about dangers of unchecked scientific advances. Cold War atmosphere is captured perfectly and the brittle dialogue is delivered to perfection. And sargent's direction matches script and performances in being understated yet uncompromising -- surprising me at every turn. Great movie, but if you are like me, you may wish not to see it alone.

Intriguing because of its historical setting (the 1960s Cold War)

[steiner-sam · 7/10 · 19 July 2022]

It's a science fiction doomsday film set in the 1960s mostly in the United States, with some scenes in Rome.

Dr. Charles Farbin (Eric Braeden) is the mastermind behind a 1960s supercomputer known as Colossus. It is designed to handle all necessary USA defensive decisions including missile launches, etc. It's buried in the Rocky Mountains of Colorado, is impervious to attack, and is isolated from physical human contact. It's thought to be superior because it's rational and not impacted by emotion.

Just after the launch of Colossus in the presence of The President (Gordon Pinsent), Colossus informs Forbin and the government there is another system. It turns out to be a Russian system known as Guardian and created by Dr. Kuprin (Alex Rodine). Colossus and Guardian begin to communicate with each, and their artificial intelligence capabilities suddenly have them working jointly and making demands of the scientists who manage and interact with Colossus (Paul Frees is the voice of Colossus).

The film then turns to efforts by the Americans to regain control of Colossus. The Americans and Russians cooperate in this effort. Colossus still needs Dr. Fortin and makes him a virtual prisoner. He arranges for some "private" time without surveillance with Dr. Cleo Markham (Susan Clark), who poses as his mistress. The film's ending reveals the state of human freedom in a technological world.

"Colossus: The Forbin Project" was a very interesting movie with a science fiction premise lodged in the imminent future. The willingness of Colossus to accept private time is a bit over the top but brings a more engaging human element into the story. Braeden, Clark, and Pinsent are adequate in their roles, though there seems to be an element of self-consciousness in the acting.

I found the film most intriguing because of its historical setting (the 1960s Cold War) and the legitimate questions it raises about technology.

Age of the Machine

[hellraiser7 · 8/10 · 4 January 2016]

One of the things I really love about the sci-fi genre is that they can make very effective cautionary/horror tales because despite presenting great possibilities they also show that there can be a flip side of the coin to them. To every decision there can also be dire consequences. This is an under the radar gem which I really like.

I really like the plot line, it was a film that was no doubt ahead of it's time, though watching the film now is sort of like seeing a relic from a time capsule.

In part of the 60's and 70's you have to realize computer technology and some of the concepts were starting to steadily rise, the fact that these things could pass and access info, let alone get certain things done quicker was amazing for it's time, despite the fact none to few of us had access to this tech at the time. A.I. was a foreign concept as well and seemed like something that seemed almost millions of miles away. But of course when the 80's and so on hit and we began to have access to Computers and Internet and all kinds of technology like Cell Phones, Survelence and Drones and has established A.I. the concept in this film is actually frighteningly placeable.

I do like the suspense, this film is sort of an espionage thriller, only here instead of a foreign power it is against the power of a machine. And unfortunately unlike enemy agents or organizations whom can make mistakes, this enemy doesn't make mistakes because it was built not do. Which in a way makes the conflict against Colosus extremely hard because it's literally almost like a war against God; as this cyber entity has access to all kinds of surveillance so it knows most to all of your moves and due to it's unlimited intelligence it's capable of anything to everything.

Eric Brayden is solid as Charles Forbin, to me this is probably the best role from the actor and sadly only really big role as he never really got to be on the silver screen again, which is sad because I really felt he had a lot of potential. His character is slightly sympathetic, despite the fact that he created or helped create the A.I. he did it for good intentions to help create peace. But as an old saying goes "the road to Hell is paved with good intentions" and both he and all of mankind have just taken one big step. I do like seeing some emotion on his face, despite keeping or trying to keep good composure he feels guilt knowing that instead of a great scientific achievement he made the greatest mistake of his life. So he tries to correct his mistake by trying to covertly sabotage his own creation.

Colosus is a very interesting villain and is to me one of my favorite fictional villains, and was no doubt a partial inspiration to Skynet from "The Terminator". But unlike Skynet and many more A.I. villains this A.I. system operates on a gray area, Colosus I don't feel is totally evil but it's not entirely good either, this cyber entity is based on cold logic, it carries out the necessary actions to produce the solutions to complex problems no matter the corrupt nature of those actions, they are necessary evils to get results. It's goal isn't to eradicate mankind but to unify it, in a way create a Utopia, but like with all Utopian concepts there is a price to pay.

I really love the voice that we hear near the end, Colosus sounds like one of the Cylons from the 70's TV show "Battlestar Galatica" and this film was 8 to 9 years before that show. But the voice fits perfectly as it has that cold caluating menacing tone to it. Most of the things Colsus says about mankind really give a cold chill and are a bit disheartening because it's sadly the truth.

I like the back and forth between both Forbin and Colosus, to me that's what really drives the film. It's sort of a verbal chess game, but unfortunately despite Forbin's great intelligence, playing chess with Colossus is impossible as Colossus is millions of moves ahead. But also in a way you could say it's also the age old motifs of father and son, mentor or student conflict as we see both old wisdom conflict against advanced intelligence.

Thought this film isn't perfect it has a couple of bugs in it's system that hold it back for me. The pacing is kinda slow, which is one of the reasons it takes a while for things to get going. Also it's not really that exciting, it just feels like the anty needed to be upped a little more, or a sticky situation or two needed to occur to keep things moving. But those are things I can get around.

The ending is to me one of the darkest one's I've seen which will haunt you, I won't say what it is but I leave it with these words "to one side came great triumph, but to another came great tragedy." The message of the film is simply, don't let technology rule your lives. Technological advance and the use of it is OK, as long as it's used wisely and it's sole purpose is as a tool and not the single solution to everything. But also about the danger of progress, just because we can do a thing, doesn't necessarily mean that we should.

I personally wouldn't mind a remake (a good one mind you, and from an film that old enough), and if they do may'be they can do it based on the whole trilogy of books, that would be an interesting sci-fi saga.

The numbers the machines computed may'be our last days.

Rating: 3 stars

Cinema Omnivore - Colossus: The Forbin Project (1970) 6.7/10

[lasttimeisaw · 7/10 · 10 February 2023]

"Although the opening sequences inside a high-tech facility appear inevitably leaden and antiquated (the retrievable aluminum gangway looks shaky and shoddy, the heavy door closes in a glacial pace), the film's analog-era computers are authentic (provided by Control Data Corporation), video phone meetings are a novelty then, and its omnipresent surveillance cameras are sharply prescient. Out of the film's pervasive, all-serious play-acting and clinical decision-making, a soft touch only emerges when under 24-hour surveillance, Forbin and his colleague Dr. Cleo Markham (a fresh-faced Clark) are impelled to spend their bedroom time in the buff. COLOSSUS is a faithful if arid adaptation of cardboard characters facing a monster beyond their ken, its main value is to bring wariness to mankind about the irreversible advancement of artificial intelligence, however scarcely credible the story is, a fail-safe precaution becomes prerequisite in furtherance of technology revolution."

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Thoughts about an under-rated movie

[larryf01 · 9/10 · 25 January 1999]

The Forbin Project is a well-done, thought provoking movie. It points out that man's technology could just backfire on him someday. There has to be a limit to how much high-tech "stuff" we can come up with, without eventually getting in over our heads. Also makes one wonder if, maybe, there is a better way of doing things that we just don't want to accept. Definitely not a movie for those who just want quick, loud action, but aimed more at thinking individuals. Sadly, it has kind of gone into obscurity, but an excellent movie nonetheless.

Ahead of its time

[safenoe · 7/10 · 21 March 2022]

I saw this in high school all those years ago, when an Apple was a luxury item and IBM pretty much ruled the IT roost.

Anyway, Colossus: The Forbin Project is quite prescient in launching Matthew Broderick's career in WarGames in the 80s. I wonder, without Colossus, would WarGames have been produced?

I'd love for a reboot of Colossus: The Forbin Project. I nominate acclaimed British actor Danny Dyer to play the lead.

Plot line with an ENORMOUS hole!

[michaeldouglas1 · 3/10 · 18 March 2008]

Aside from the lunatic premise that we'd ever perpetually lock ourselves into the nuclear-hostage situation of Mutual Assured Destruction, thus forever ending any hope of real nuclear disarmament (to say nothing of possible changing geo-political situations, such as the fall of the Soviet Union), this movie had some real plot holes.

I saw Colossus: The Forbin Project when it was first released, and even at 10 years old I noted a particular plot-hole large enough to drive a semi through. Colossus/Guardian only hold their power thru the fact that they control America and Russia's nuclear-tipped ICBM's, right? Then why not de-fang this monster right at the source? Secretly move troops into the areas of our and the Russians ICBM launch complexes, ringing them with machine guns, anti-air artillery, and SAM's (surface-to-air missiles) -- then let Colossus/Guardian TRY firing them off!

An ICBM coming out of a silo is EXTREMELY vulnerable -- it's relatively slow, very thin-skinned, and filled with highly-explosive propellant. One good machine-gun burst would puncture it's skin and blow it to bits (to say nothing of what the radar-controlled anti-air artillery and heat-seeking SAMs that existed in 1970 could do). Our ICBM force's credibility as a deterrent always took for granted that we would have physical control of the ground around the ICBM silos -- otherwise they could be "taken out" as soon as they emerged from the ground. (Also note that accidental detonation of the warhead when the missile blows up is virtually impossible; the only slight risk might involve a small amount of radiation leakage from the warhead's plutonium components -- but all our ICBM sites are located in remote areas, anyway). What I'd realized back in 1970 was confirmed in the 1980's when I was attached to a strategic missile test squadron at Vandenberg AFB (the Air Forces' premier missile test facility), not only gaining a working-knowledge of our ICBMs but witnessing many test launches.

Verbal orders passed along to move troops into the ICBM areas would have ensured no Colossus/Guardian eavesdropping and pre-emptory launches. Once in place the super-computers' would have been thoroughly "check-mated". And just imagine Colossus/Guardian's surprise when they launched some missiles to teach us dumb humans who's the boss, and each missile got flamed within a thousand yards of it's silo! "Goodbye, Colossus! Goodbye, Guardian! Take your orders and shove them!"