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Two years after the homicidal HAL 9000 made its debut in “2001: A Space Odyssey” and 14 years before Skynet is mentioned in “The Terminator,” there was a lesser known but equally dangerous supercomputer-based artificial intelligence known as “Colossus: The Forbin Project” (1970). Based on the book “Colossus” by Dennis Feltham Jones (1918-1981), the movie follows Dr. Charles Forbin (Eric Braedon, “Escape from the Planet of the Apes”), whose new supercomputer threatens to revolutionize national defense—taking whatever steps it can to ensure world peace; without emotion, bias or indecision. What could go possibly go wrong?

Truth be told, “Colossus…” is one of those well-reputed sci-fi movies that I’d never watched in full until recently.  I’d seen portions of it over the years, and I knew the gist of the plot, but until this week, I’d never sat down to watch the entire movie from start to finish. Watching it today, as AI threatens the livelihoods of many professions by culling the internet to mimic human talents and experience, “Colossus: The Forbin Project” takes on even greater relevance—and prescience—than it had in 1970. It also doesn’t help that the world today is just as tense as it was back in the days of the Cold and Vietnam Wars, with the current Russian invasion of Ukraine and the Israeli-Hamas conflict.

Since “Colossus…” is not in my ridiculously large library of physical media, I was lucky to find a streaming copy on Vimeo (for however long that lasts), which was a bit mushy-looking, but watchable enough… 

“Colossus: The Forbin Project”

Directed by Joseph Sargent, the movie opens in a massive, high-tech USAF installation where Dr. Charles A. Forbin (Eric Braeden) has completed work on his all-new, completely automated nuclear defense system known as “Colossus.” As he tells the assembled guests, including the US President (Gordon Pinset), Colossus operates without emotion or prejudice; it makes decisions for defense based entirely on logic, strategy and protection of human beings.  In short, Colossus is the ultimate system to guarantee world peace.

Note: The early part of the movie covers some of the same territory of Star Trek TOS’ “The Ultimate Computer” (1968), which featured William Marshall (“Blacula”) in the role of Dr. Richard Daystrom; the computer’s creator, who—unlike Forbin—does his utmost to protect his device once it goes awry.  That episode came out around the same time as “2001: A Space Odyssey.” Long before they became everyday devices that fit in our pockets, there was a great deal of fear surrounding computers’ potential. 

For its own protection, the system’s mainframe is housed deep in the Rocky Mountains, powered by its own nuclear reactor and with a deadly radioactive moat surrounding the base (that sounds unsafe as hell). The Secretary of Defense (Sid McCoy) half-jokingly expresses concern to the President (Gordon Pinsent) about his own obsolescence.  Later, at a celebratory press junket at the White House, Forbin receives a video call (a technology that didn’t really exist at that time) from his Colossus Project team based in Southern California, who remind him to steal an ashtray from the White House, because everyone smoked in 1970…

Note: The bit with the ashtray is a nice way to humanize the intellectual Dr. Forbin, who, at first, embodies the very cliché of the brilliant young scientist, circa 1970 (right down to actor Eric Braeden’s German accent). Director Joseph Sargent also directed Star Trek TOS’ “The Corbomite Maneuver” (1966), as well as “The Taking of Pelham 123” (1974).  Sargent would also go one to direct “JAWS: The Revenge” (1987), one of the worst big-ticket franchise sequels I’ve ever seen, right down there with “Exorcist 2: The Heretic” (1977).

As the machine continues settling in, Forbin joins the President, the Secretary of Defense, the Secretary of State (Byron Morrow) and CIA Director Grauber (William Schallert), as they gather at some version of the USAF NORAD installation in Colorado. There, they continue their victory lap, showing off the wonders of Colossus.  Disturbingly, the system begins to show signs of independent thought, which its creator finds puzzling, though he dismisses it; saying it only means Colossus was assembled with greater precision than he thought.  Then Colossus gives off an alarm, as it detects a second system like itself, in the Soviet Union. As the embarrassed CIA director fumbles for an explanation, Forbin bypasses protocol and asks Colossus about the Soviet system directly, with its replies shown on a massive readout display.

Note: The common thinking in the 1960s, based on precedent, was that the more powerful computers would automatically be bigger; this is why Colossus was conceived of as a monstrosity that required a whole team just to interface and understand it.  Of course, computers eventually became smaller, sleeker, more powerful, and more user-friendly. Colossus could probably be a medium-sized mainframe these days. 

Colossus confirms the existence of the Soviet system, which is called Guardian. Without authorization, Colossus demands a connection to Guardian, much to Dr. Forbin’s surprise. Showing an almost human impatience, Colossus begins creating its own connections via phone lines on land and sea (no internet in those days; let alone wireless wi-fi towers), and it soon establishes contact with Guardian. Needed by his team to deal with this astonishing development, Forbin cuts short his victory lap in Colorado and returns to Los Angeles…

Note: The four-sided readout of Colossus (before it gets its electronic voice later on) very much resembles the Ticker at Times Square in the heart of Manhattan. 

Meanwhile, the Soviets are aware of Colossus connecting with Guardian, and the US President remains in contact with the Soviet Premier (Leonid Rostoff) on a video conference. When the Soviets and Americans attempt to cut the computers’ physical connection, Colossus and Guardian retaliate by firing a single missile into their respective nations.  With no choice, both sides agree to leave the computers connected. Colossus is able to successfully intercept the Soviet missile fired by Guardian, but the Soviets are unable to stop a Colossus-fired missile heading for one of their oil fields. An entire Soviet town is obliterated in the process. The Soviets don’t seek retaliation, since the Premier is aware the destruction had no human will behind it.  A Soviet press release covers the deadly mishap by blaming it on a massive meteorite. Both nations—and the world—are now being held hostage by their own protective supercomputers, and any attempts to sever their connection will incur prompt, deadly retaliation.

Note: This part of the movie seems to be an homage to 1964’s “Fail-Safe,” directed by legendary director Sidney Lumet (“12 Angry Men,” “Dog Day Afternoon,” “Network”), based on the novel by Eugene Burdick and Harvey Wheeler. That movie and book tell the story of an accidental nuclear launch impacting within the Soviet Union, that, by treaty, demands a Soviet response against an American target.

Back in California, Forbin gathers around his team, including Dr. Cleo Markham (Susan Clark), Dr. John F. Fisher (Georg Stanford Brown), Angela Fields (Marion Ross), Dr. Jefferson J. Johnson (Martin E. Brooks), Thomas Harrison (Tom Basham), Dr. Chin (James Hong) and the pipe-smoking Dr. Blake (Willard Sage). As data from the Colossus-Guardian merger floods in, the team realizes the two supercomputers have created a unique mathematical language for themselves. Colossus and Guardian have also used their combined abilities to solve a host of scientific conundrums and other previously ‘unsolvable’ puzzles of humankind. 

Note: In another movie, this might be seen as a happy ending, as the two supercomputers of the superpowers decide to combine their talents for the good of both countries. But, nope, this is not that movie…

The Soviet Premier and the US President are now little more than spectators, as Colossus and Guardian plan to fully manage US and Soviet nuclear arsenals from now on, leaving humans out of the loop.  Unable to break the supercomputers’ connection, the world’s soldiers and police are reduced to carrying out the machines’ orders, for fear of dispassionate and deadly consequences.

Note: The US President is played by Canadian actor Gordon Pinsent (1930-2023), who was terrific in 2006’s heartbreaking film, “Away From Her”; the story of an elderly couple coping with the wife’s dementia (Julie Christie).  In “Colossus…” the character of the US President seems consciously styled after the late John F. Kennedy, right down to the hairstyle and facial features.  It was during Kennedy’s brief term (before his assassination in 1963) that the US saw wonderfully audacious new ideas on the table, including plans for landing men on the moon during the Space Race with the Soviets, and the formation of the Peace Corps. There was also Kennedy’s steely resolve in handling 1962’s Cuban Missile Crisis, buying him much-needed clout after the disastrous Bay of Pigs fiasco in 1961. In that heady, ambitious, early 1960s-way, Colossus almost feels like something that might’ve begun on Kennedy’s watch.

With Colossus and Guardian expanding their reach, Forbin takes advantage of computer immobility by flying to Rome to meet with the sympathetic Soviet creator of Guardian, Dr. Kuprin (Alex Rodine).  Traveling by plane, car and even helicopter, Forbin arranges to meet with Kuprin near a bridge.  As he exits the helicopter, he sees Kubrin’s car arrive; and several policemen following him.  Before Forbin can speak with his counterpart, Kubrin is shot to death by one of the policemen. This assassination was ordered by Colossus.  Returning to America, Forbin asks his creation why it killed Kuprin. In text, Colossus states that Forbin’s presence makes Kubrin redundant (and an unnecessary security risk to the two supercomputers).  Colossus also informs its creator that it’s arranged to have cameras installed everywhere Forbin goes—even in his apartment.

Note: Much like the omnipresent red lensed cameras of the HAL 9000 computer all over the spaceship Discovery in “2001: A Space Odyssey.”

Forbin takes advantage of his last day as a ‘free man’ by requesting an outdoor meeting with his staff, overlooking the mountains of Los Angeles.  He then hatches a plan that involves Dr. Markham posing as his mistress, and he will use whatever clout he has with Colossus to request a few hours of privacy with her, several days a week.  During their ‘alone time,’ Forbin and Markham can relay messages between himself and the rest of the team, including any ideas for regaining control of the supercomputer. 

Note: A few names among the supporting cast; actor Martin E. Brooks (1925-1915), who plays the hilariously named Dr. Jefferson J. Johnson, was best known as playing bionics’ creator, ‘Dr. Rudy Wells’ in the latter seasons of “The Six Million Dollar Man” and the entire run of “The Bionic Woman.” Actress Marion Ross, who plays assistant Angela Fields, would find her greatest fame as Marion Cunningham (aka “Mrs. C”) in the popular TV series “Happy Days.” Though these supporting characters don’t have much to do, their lack of showiness makes them feel all the more authentic. It’s also nice to see some diversity in the cast of a 54 year old movie, with actors such as Georg Stanford Brown (“Roots,”“The Rookies”), Sid McCoy (Secretary of Defense), and James Hong (Dr. Chin).

Returning home to his apartment, Forbin finds new cameras everywhere, with a Colossus monitor in the middle of the living room showing onscreen text responses to his vocal inquiries.  Forbin and Colossus then go over the exact details of his daily inhabits, such as when he’ll eat, drink (including the formula for a perfect martini), exercise, and even use the bathroom. Forbin then tells the computer he has a mistress, Dr. Markham. Coldly, the computer asks Forbin how much sexual activity he requires. Wanting as much time beyond Colossus’s surveillance as possible, Forbin replies “Every day,” to which Colossus responds, “Need, not Want.” Creator and creation hash out a system where Forbin can see his ‘mistress’ for several unobserved hours each week, but that’s all.

Note: The ultimate humiliation of being forced to undress and even take a dump in front of a sentient computer. Yikes! As a person who greatly values privacy, that dehumanizing image really lingered in my brain afterward…

Putting their ruse to the test, Dr. Markham arrives for her ‘date’ with Forbin.  The two of them really play it up; sharing personal details, making drinks, dancing, and having dinner before the time comes for their Colossus-allotted sex.  Like prisoners being searched, Forbin and Markham are forced to disrobe in front of Colossus’s cameras. Once he and Markham are nude and in bed, Forbin tells Colossus it can stop its surveillance now.  Staying true to its word, Colossus’s bedroom camera goes offline, and the two scientists awkwardly go over ideas from the team for regaining control of Colossus.  As the two scientists maintain the ‘relationship’ over the course of multiple date nights, their feelings for each other soon become real.

Note: Forbin and the extremely willing Dr. Markham go a few steps beyond anything that “2001”’s Frank Poole and Dave Bowman ever attempted to escape HAL 9000’s scrutiny…

Realizing that Colossus and Guardian’s control is maintained by the threat of nuclear missiles, Forbin suggests that the US and Soviet militaries covertly replace all nuclear missile triggers with dummies over the course of three years.  After completion, they hope to execute a “routine test program” that would overload Colossus, effectively disabling it. With a newly created electronic ‘voice’ (Paul Frees), Colossus announces that it has permanently fused with Guardian, and now wishes to redirect Soviet and American nuclear missiles at those countries that have yet to fall under direct Colossus control.  The militaries of the US and USSR are relieved, thinking this work might buy them time to work on replacing the nuclear triggers. Tests done with swapping in a dummy trigger seem to go well.  During maintenance tests, the engineers attempt the overload, which is immediately detected by Colossus. Under threat of swift retaliation, guards are forced to execute the would-be saboteurs, just outside the Forbin’s apartment window; forcing him to watch.  Colossus then orders their dead bodies to remain in Forbin’s view for 24 hours, to discourage further resistance. 

Note: Actor Paul Frees (1920-1986), who performs the electronically-modulated voice of Colossus, was a famed voice talent, having provided the still-used voices for Disneyland’s Haunted Mansion, and Pirates of the Caribbean attractions (“Dead men tell no tales…”). Frees also narrated the Wonderful World of Disney specials, such as the “Man in Space” series (1954), as well as various characters in the Rankin-Bass stop-motion animated TV specials, such as “Santa Claus is Coming to Town” (1970).

Like any other prima donna dictator, Colossus then arranges to ‘speak’ to a mass audience in a broadcast shown all over the world.  The machine proclaims itself to be “World Control,” announcing that it will end war forever.  While it has world’s attention, Colossus makes yet another demonstration against resistance, by detonating two nuclear warheads in their silos—one in the Soviet Union and one in the United States—obliterating crews who were attempting to swap out live nuclear triggers with dummies. This harsh lesson is seen by the entire world live, and Colossus reiterates its intolerance of any “interference” with its plans. 

Note: During the scenes of multiple crowds gathered in open spaces listening to Skynet—er, Colossus’s speech against interference, there is a quick shot of a young boy wearing a Colossus Project t-shirt. I wonder if the boy simply bought the shirt before the machine turned dictatorial, or perhaps he is showing solidarity with (or worship of) Colossus for eliminating the threat of war with the (currently former) Soviet Union. Food for thought…

With Forbin living under constant surveillance as a virtual prisoner in his own home, he wanders around his apartment, wrapped in a blanket; his only ‘armor’ against unwanted electronic eyes.  Forbin then receives an urgent call from his colleague, Dr. Chin (James Hong), who informs him that Colossus has ordered the displacement of all 500,000 people on the Island of Crete, where it plans to build an expanded computer complex (an offspring…?).  On that cheerful note, Forbin decides to return to his lab in Los Angeles…

Note: Actor James Hong has a ridiculously long list of movie and TV credits, as the 95 year-old actor has been making films since the 1950s. A few of his notable sci-fi credits include “Blade Runner,” “Big Trouble in Little China,” and the recent Best Picture Oscar winner of 2022, “Everything Everywhere All at Once.” My wife and I had the pleasure of meeting Hong at San Diego Comic Con 2012, where he wore a hat shaped like a bowl of noodles. A class act, and a kindly man, but with a surprisingly kooky sense of humor. Not enough people like James Hong in the world.

Returning to the lab, Colossus speaks directly to its creator, who’s becoming more emotional with the stress of living under his creation’s constant electronic thumb. It’s here, in front of Forbin’s demoralized staff, that Colossus announces its plan for a “new human millennium,” where it plans to raise humanity to new heights—under its absolute rule.  When Forbin asks about humanity’s need for freedom, the computer replies (with a sting of truth) that freedom is an illusion.

Colossus then states its belief (or hope) to its creator, that “in time, you will come to regard me not only with awe and respect, but with love.”  To that, Forbin replies with a firm “Never.”

Note: That concludes this 20th century computerized remake of “Frankenstein,” though this new cathode-ray tube incarnation of the monster is far less sympathetic than the creature in Mary Shelley’s book…

The End.

Summing It Up

“Colossus: The Forbin Project” took Cold War paranoia and fused it with the then-nascent fear of emerging artificial intelligence, back in a time when AI was entirely hypothetical.  In the late 1960s, it would probably take a roomful of networked computers to do half of what the iPhone in my pocket could do today.  Nevertheless, despite the incredible computing power at our fingertips these days, all AI-based creations and decisions still have human sources.  Even the internet content that AI pulls from is generated by humans.  “Colossus…” wonders what happens when AI removes those fleshy training wheels?

Directed by Joseph Sargent (1974’s “The Taking of Pelham 123”), “Colossus…” begins its tale in a cool, almost clinical style that paved the way for the similarly-realized “The Andromeda Strain” a year later.  About halfway through, the movie begins to warm up, as the formerly aloof Dr. Forbin begins to reassess the value of his own humanity, now that it is directly threatened by his creation.  His bogus relationship with Dr. Markham (Susan James) begins as a means of avoiding the prying cameras of Colossus, but develops into the real thing.  By the end of the movie, when Colossus/Guardian’s threats of nuclear destruction are made real, we see the once-dispassionate Forbin begin to unravel, as his electronic Frankenstein monster demands his loyalty, and even his love. 

German-born actor Eric Braeden (1970’s “Beneath the Planet of the Apes,”) does a solid with the character’s Oppenheimer-esque arc from pride to deepest regret.  Forbin’s cool, detached nature is in keeping with the stereotypes of scientists back in those Wernher von Braun days.  In fact, Dr. Forbin is not too unlike Braeden’s calculating ‘Dr. Otto Hosslein’ from “Beneath the Planet of the Apes,” though Forbin lacks Hosslein’s ruthlessness.  Braeden is supported by a nicely diverse, if underused cast for 1970, including Susan Clark, Marion Ross, Gordon Pinsent, James Hong, Georg Stanford Brown, Sid McCoy, and Martin E. Brooks. 

Some might not like that “Colossus…” ends just when the conflict between creator and creation reaches critical mass (“Never!”), but I think it wisely lets the viewer’s imagination do the rest. Living under the hair-triggered threat of nuclear attack for any slip-up, Forbin and the human race are right back they were pre-Colossus; on the brink of destruction. The only difference is that the trigger is now in artificial hands, which have the power to change humanity itself. The creation reshapes its creators. The movie serves as a cautionary tale of what happens when we surrender our humanity to our machines (take that, self-driving cars!). This dilemma is always with us, especially as more and more careers are being displaced by automation and AI—even those once thought to be unassailable, such as the creative arts, or literature.

As we saw with HAL 9000, Skynet or ‘Joshua’ in “WarGames,” taking our hands off the wheel isn’t always such a good idea; our smart devices might just decide to dish out a bit of tough love with us someday. In a world currently transforming under the combination gift/threat of artificial intelligence, “Colossus: The Forbin Project” remains as relevant as ever.

Where To Watch

“Colossus: The Forbin Project” is currently streaming on Vimeo for free (no subscription necessary), and is also available to stream on The Internet Archive; these streaming copies are low-resolution, but watchable. The movie can also be purchased on DVD (pan & scan) and in Blu-Ray from Amazon (prices vary).  For overall quality, the Blu-Ray is easily the best bet.