Abstract
During its history of reception, George Pal’s The Time Machine (1960) has acquired a reputation as either a largely apolitical piece of filmmaking, or as a hawkish endorsement of American Cold War prerogatives. Given its historical context, this reputation is undeserved. Within the larger framework of the Cold War, particularly in regard to historical events immediately preceding the release of the film in 1960, Pal lays out a narrative that advocates benign American intervention on behalf of recently decolonized nations at risk of being absorbed into the Soviet Union’s sphere of influence. In light of Christina Klein’s work on the internal inconsistencies and contradictions within Cold War rhetoric, Pal’s film reads differently when seen as commenting upon post-WW II decolonization rather than upon ideological, political, and military rivalry with the Soviet Union
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