“Four Sided Triangle” (1953)
Commonly, science fiction films unwisely minimize (or altogether eliminate) the human element in favor of exploiting the more fantastic elements of the story, the greatest commonality of creative exhaustion manifested through the appearance of invasionary aliens or spectacular atomic mutations. Now, since SF is fundamentally engaged with science and technology and its applications in how it affects Man and how he socializes, progresses, exists; it would seem an ungrateful contradiction to complain of a film in which the “human factor” is preeminent. Promoting such a rare divergence from the surrender to gaudy sensation is Terence Fisher’s “Four Sided Triangle”, a film in which the scientific backdrop of the story finds a pronounced catalyst in the emotional foibles of the human heart. The film’s simplistic conceit is a wish fulfillment fantasy in which romantic longing finds a second chance; though the context of the theme’s exploration is so preposterously conceived as to surrender to the perils of even rudimentary considerations of logic, not to mention common sense. But, being that this is science fiction, what could possibly go wrong?
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