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Table of Contents

Guide

PLANET OF THE APES

THE ORIGINAL TOPPS TRADING CARD SERIES

Abrams ComicArts, New York

Introduction and commentary

by Gary Gerani

TM

Editor: Orlando Dos Reis

Project Manager: Charles Kochman

Designer: Liam Flanagan

Managing Editor: Amy Vreeland

Production Manager: Alison Gervais

Cataloging-in-Publication Data has been

applied for and may be obtained from the

Library of Congress.

ISBN 978-1-4197-2613-2
eISBN 978-1-68335-090-3

The advertisements reprinted in this publi-

cation are included for historical and editorial

purposes only. All offers are no longer valid.

The views expressed in the editorial

commentary are solely those of the individuals

providing them and do not represent the

opinions of Twentieth Century Fox, The Topps

Company, or the publisher.

& 2017 Twentieth Century Fox

Film Corporation. All rights reserved.

Topps logo and 2017 The Topps

Company, Inc. All rights reserved.

Cover design by Liam Flanagan

Case photography by Geoff Spear

Published in 2017 by Abrams ComicArts,

an imprint of ABRAMS. All rights reserved.

No portion of this book may be reproduced,

stored in a retrieval system, or transmitted

in any form or by any means, mechanical,

electronic, photocopying, recording, or

otherwise, without written permission from

the publisher.

Abrams ComicArts is a registered trademark

of Harry N. Abrams, Inc., registered in the U.S.

Patent and Trademark Office.

Abrams ComicArts books are available at

special discounts when purchased in quantity

for premiums and promotions as well as fund-

raising or educational use. Special editions can

also be created to specification. For details,

contact specialsales@abramsbooks.com or the

address below.

Special thanks to Ira Friedman and John Williams at Topps, Josh Izzo and Nicole Spiegel at Fox, and

Dana Gould and Tim Perati. At Abrams, thanks to Orlando Dos Reis, Charles Kochman, and Jessie

Paddock (editorial); Liam Flanagan (design); Amy Vreeland (managing editorial); and Alison Gervais

(production). And thanks to Jonathan Beckerman (photography).

Photography by Jonathan Beckerman: 8, 11, 18, 19, 45059, 46671, 480

Images courtesy of Dana Gould: 8, 11, 18, 19, 20107

Image courtesy of Charles Kochman: 109

Images courtesy of Tim Perati: 12, 13, 16, 17, 108, 25051, 43259, 461 (left), 462, 46479

Front endpaper: detail, 1969 display box side panel

TO PIERRE BOULLE AND ROD SERLING,

THE SCI-FI VISIONARIES

WHO EXPLORED SPACE AND TIME

ABRAMS

The Art of Books

115 West 18th Street, New York, NY 10011

abramsbooks.com

BY GARY GERANI

Planet of the Apes

film poster, 1968.

INTRODUCTION

TOPPS GOES APE

BY

GARY GERANI

Science fiction movies in the 1960s went

through a curious evolution. The decade

began with A-list efforts such as Journey

to the Center of the Earth (1959), The

Time Machine (1960), and Mysterious

Island (1961)adaptations of classic

Jules Verne and H. G. Wells tales. Novels

like these were required reading in grade

school at the time, and most people were

very familiar with them. That made sci-fi

respectable for the big screen after the

1950s had gone wild with low-budget

monster invasions of every conceivable

kind. These widescreen color films based

on Victorian annuals were fanciful enough

to attract mainstream actors like James

Mason, Rod Taylor, and many others.

But the cycle died circa 1964, just

about the time of Nathan Jurans First

Men in the Moon . Real astronauts were

heading to the real moon in the mid-

1960s, and many suspect this diminished

the publics interest in quaint period

fantasies, no matter how charming they

might have been. Meanwhile, gadget-

laden spy thrillers like the James Bond

movies appeared to give audiences their

futuristic fixfor a while, at least.

Twentieth Century Foxs Fantastic

Voyage (1966) signaled a shiny new

direction in science fiction cinema. It was a

big production with major stars based on a

decidedly modern premise: the molecular

miniaturization of scientists who are then

injected into a patients bloodstream in

order to conduct a delicate brain operation

from within. The movie, novelized by Isaac

Asimov, made a fortune for Fox, which

had enjoyed spotty success with futuristic

thrillers since The Fly in 1958. In 1967, an

even bigger sci-fi extravaganza was green-

lit by the eager studio, boasting one of its

biggest stars.

Charlton Heston was synonymous

with Hollywood blockbusters in the 1950s

and 60s, top-lining perennial features

such as The Ten Commandments (1956),

Touch of Evil (1958), Ben-Hur (1959),

and The Agony and the Ecstasy (1965),

to mention just a few. Heston took a

personal interest in an offbeat property

being developed by Foxan ambitious

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