Adapted from the eponymous Michael Moorcock novel and premiering in UK cinemas on this day in 1973, the Robert Fuest sci-fi, action production (thanks to the introduction from The Flop House), the plot centring around the quest for post-humanism beings—perfect and self-propagating—is a post-modern Prometheus story that shares a lot of energy and aesthetics with the roughly contemporary Abominable Doctor Phibes. Bent on carrying out the taboo and contro-versial plan of a recently deceased mad scientist and bring human kind into a new age and out of an existence condemned to near post-apocalyptic wasteland, Miss Brunner—a sado-masochistic techno-magician—instigates the epiphanical sequence, causing her to merge with the protagonist, a suave playboy physicist and son of the man scientist called Jerry Cornelius and dispatching with the henchman named Dmitri who had helped bring their plot to fruition—briefly manifesting as some sort of messianic figure to herald a new age before devolving into a caveman (see also). The creature, as it escapes the secret lair, observes that it is indeed “a very tasty world.”
Bent on carrying out the taboo and contro-versial plan of a recently deceased mad scientist and bring human kind into a new age and out of an existence condemned to near post-apocalyptic wasteland, Miss Brunner—a sado-masochistic techno-magician—instigates the epiphanical sequence, causing her to merge with the protagonist, a suave playboy physicist and son of the man scientist called Jerry Cornelius and dispatching with the henchman named Dmitri who had helped bring their plot to fruition—briefly manifesting as some sort of messianic figure to herald a new age before devolving into a caveman (see also). The creature, as it escapes the secret lair, observes that it is indeed “a very tasty world.”
