The Time Machine is a science fiction novella​ by H. G. Wells, published in 1895 and written as a frame narrative. The work is generally credited with the popularization of the concept of time travel by using a vehicle or device to travel purposely and selectively forward or backward through time. The term "time machine", coined by Wells, is now almost universally used to refer to such a vehicle or device.

The Time Machine has been adapted into three feature films of the same name, as well as two television versions and many comic book adaptations. It has also indirectly inspired many more works of fiction in many media productions.

History

Wells had considered the notion of time travel before, in a short story titled "The Chronic Argonauts" (1888). This work, published in his college newspaper, was the foundation for The Time Machine.

Wells frequently stated that he had thought of using some of this material in a series of articles in the Pall Mall Gazette until the publisher asked him if he could instead write a serial novel on the same theme. Wells readily agreed and was paid £100 (equal to about £12,000 today) on its publication by Heinemann in 1895, which first published the story in serial form in the January to May numbers of The New Review (newly under the nominal editorship of W. E. Henley). Henry Holt and Company published the first book edition (possibly prepared from a different manuscript) on 7 May 1895; Heinemann published an English edition on 29 May. These two editions are different textually and are commonly referred to as the "Holt text" and "Heinemann text", respectively. Nearly all modern reprints reproduce the Heinemann text.

The story reflects Wells's own socialist political views, his view on life and abundance, and the contemporary angst about industrial relations. It is also influenced by Ray Lankester's theories about social degeneration and shares many elements with Edward Bulwer-Lytton's novel Vril, the Power of the Coming Race (1871). Other science fiction works of the period, including Edward Bellamy's novel Looking Backward: 2000-1887 (1888) and the later film Metropolis (1927), dealt with similar themes.

Based on Wells's personal experiences and childhood, the working class literally spent a lot of their time underground. His own family would spend most of their time in a dark basement kitchen when not being occupied in their father's shop. Later, his own mother would work as a housekeeper in a house with tunnels below, where the staff and servants lived in underground quarters. A medical journal published in 1905 would focus on these living quarters for servants in poorly ventilated dark basements. In his early teens, Wells became a draper's apprentice, having to work in a basement for hours on end.

This work is an early example of the Dying Earth subgenre. The portion of the novella that sees the Time Traveller in a distant future where the sun is huge and red also places The Time Machine within the realm of eschatology, i.e. the study of the end times, the end of the world, and the ultimate destiny of humankind.

Plot

The book's protagonist is a Victorian English scientist and gentleman inventor living in Richmond, Surrey, identified by a narrator simply as the Time Traveller. Similarly, with but one exception (a man named Filby) none of the dinner guests present are ever identified by name, but rather by profession (for example, "the Psychologist") or physical description (for example, "the Very Young Man").

The narrator recounts the Traveller's lecture to his weekly dinner guests that time is simply a fourth dimension and demonstrates a tabletop model machine for travelling through the fourth dimension. He reveals that he has built a machine capable of carrying a person through time, and returns at dinner the following week to recount a remarkable tale, becoming the new narrator.

In the new narrative, the Time Traveller tests his device. At first he thinks nothing has happened but soon finds out he went five hours into the future. He continues forward and sees his house disappear and turn into a lush garden. The Time Traveller stops in A.D. 802,701, where he meets the Eloi, a society of small, elegant, childlike adults. They live in small communities within large and futuristic yet slowly deteriorating buildings, and adhere to a fruit-based diet. His efforts to communicate with them are hampered by their lack of curiosity or discipline. They appear happy and carefree but fear the dark, and particularly moonless nights. Observing them, he finds that they give no response to mysterious nocturnal disappearances, possibly because the thought of it alone frightens them into silence. He speculates that they are a peaceful society. After exploring the area around the Eloi's residences, the Time Traveller reaches the top of a hill overlooking London. He concludes that the entire planet has become a garden, with little trace of human society or engineering from the hundreds of thousands of years prior.

Returning to the site where he arrived, the Time Traveller is shocked to find his time machine missing and eventually concludes that it has been dragged by some unknown party into a nearby structure with heavy doors, locked from the inside, which resembles a Sphinx. Luckily, he had removed the machine's levers before leaving it (the time machine being unable to travel through time without them). Later in the dark, he is approached menacingly by the Morlocks, ape-like troglodytes who live in darkness underground and surface only at night. Exploring one of many "wells" that lead to the Morlocks' dwellings, he discovers the machinery and industry that makes the above-ground paradise of the Eloi possible. He alters his theory, speculating that the human race has evolved into two species: the leisured classes have become the ineffectual Eloi, and the downtrodden working classes have become the brutal light-fearing Morlocks.

Deducing that the Morlocks have taken his time machine, he explores the Morlock tunnels, learning that due to a lack of any other means of sustenance, they feed on the Eloi. His revised analysis is that their relationship is not one of lords and servants but of livestock and ranchers. The Time Traveller theorizes that intelligence is the result of and response to danger; with no real challenges facing the Eloi, they have lost the spirit, intelligence, and physical fitness of humanity at its peak.

Meanwhile, he saves an Eloi named Weena from drowning as none of the other Eloi take any notice of her plight, and they develop an innocently affectionate relationship over the course of several days. He takes Weena with him on an expedition to a distant structure dubbed "The Palace of Green Porcelain", which turns out to be a derelict museum. Here, the Time Traveller finds a fresh supply of matches and fashions a crude weapon against Morlocks, whom he must fight to get back his machine. He plans to take Weena back to his own time. Because the long and tiring journey back to Weena's home is too much for them, they stop in the forest for the night. They are then overcome by Morlocks in the night, whereby Weena faints. The Traveller escapes when a small fire he had left behind them to distract the Morlocks catches up to them as a forest fire; Weena and the pursuing Morlocks are lost in the fire and the Time Traveller is devastated over his loss.

The Morlocks open the Sphinx and use the time machine as bait to capture the Traveller, not understanding that he will use it to escape. He reattaches the levers before he travels further ahead to roughly 30 million years from his own time. There he sees some of the last living things on a dying Earth: Menacing reddish crab-like creatures slowly wandering the blood-red beaches chasing enormous butterflies, in a world covered in simple lichenous vegetation. He continues to make jumps forward through time, seeing Earth's rotation gradually cease and the sun grow larger, redder, and dimmer, and the world falling silent and freezing as the last degenerate living things die out.

Overwhelmed, he goes back to the machine and returns to his own time, arriving at the laboratory just three hours after he originally left. He arrives late to his own dinner party, whereupon, after eating, the Time Traveller relates his adventures to his disbelieving visitors, producing as evidence two strange white flowers Weena had put in his pocket.

The original narrator then takes over and relates that he returned to the Time Traveller's house the next day, finding him preparing for another journey and promising to return in a short time. However, the narrator reveals that he has waited three years before writing and stating the Time Traveller has not returned from his journey.

Film adaptations

1949 BBC teleplay

The first visual adaptation of the book was a live teleplay broadcast from Alexandra Palace on 25 January 1949 by the BBC, which starred Russell Napier as the Time Traveller and Mary Donn as Weena. No recording of this live broadcast was made; the only record of the production is the script and a few black and white still photographs. A reading of the script, however, suggests that this teleplay remained fairly faithful to the book.

1960 film

In 1960, the novella was made into an American science fiction film, also known promotionally as H.G. Wells's The Time Machine. The film starred Rod Taylor, Alan Young, and Yvette Mimieux. The film was produced and directed by George Pal, who also filmed a 1953 version of Wells's The War of the Worlds. The film won an Academy Award for time-lapse photographic effects showing the world changing rapidly.

In 1993, Rod Taylor hosted Time Machine: The Journey Back reuniting him with Alan Young and Whit Bissell, featuring the only sequel to Mr. Pal's classic film, written by the original screenwriter, David Duncan. In the special were Academy Award-winners special effect artists Wah Chang and Gene Warren.

1978 television film

Sunn Classic Pictures produced a television film version of The Time Machine as a part of their "Classics Illustrated" series in 1978. It was a modernization of the Wells's story, making the Time Traveller a 1970s scientist working for a fictional US defence contractor, "the Mega Corporation". Dr. Neil Perry (John Beck), the Time Traveller, is described as one of Mega's most reliable contributors by his senior co-worker Branly (Whit Bissell, an alumnus of the 1960 adaptation). Perry's skill is demonstrated by his rapid reprogramming of an off-course missile, averting a disaster that could destroy Los Angeles. His reputation secures a grant of $20 million for his time machine project. Although nearing completion, the corporation wants Perry to put the project on hold so that he can head a military weapon development project. Perry accelerates work on the time machine, permitting him to test it before being forced to work on the new project.

2002 film

The 1960 film was remade in 2002, starring Guy Pearce as the Time Traveller, a mechanical engineering professor named Alexander Hartdegen, Mark Addy as his colleague David Filby, Sienna Guillory as Alex's ill-fated fiancée Emma, Phyllida Law as Mrs. Watchit, and Jeremy Irons as the Uber-Morlock. Playing a quick cameo as a shopkeeper was Alan Young, who featured in the 1960 film. (H.G. Wells himself can also be said to have a "cameo" appearance, in the form of a photograph on the wall of Alex's home, near the front door.)

The film was directed by Wells's great-grandson Simon Wells, with an even more revised plot that incorporated the ideas of paradoxes and changing the past. The place is changed from Richmond, Surrey, to downtown New York City, where the Time Traveller moves forward in time to find answers to his questions on 'Practical Application of Time Travel;' first in 2030 New York, to witness an orbital lunar catastrophe in 2037, before moving on to 802,701 for the main plot. He later briefly finds himself in 635,427,810 with toxic clouds and a world laid waste (presumably by the Morlocks) with devastation and Morlock artifacts stretching out to the horizon.

It was met with mixed reviews and earned $56 million before VHS/DVD sales. The Time Machine used a design that was very reminiscent of the one in the Pal film but was much larger and employed polished turned brass construction, along with rotating glass reminiscent of the Fresnel lenses common to lighthouses. (In Wells's original book, the Time Traveller mentioned his 'scientific papers on optics'). Hartdegen becomes involved with a female Eloi named Mara, played by Samantha Mumba, who essentially takes the place of Weena, from the earlier versions of the story. In this film, the Eloi have, as a tradition, preserved a "stone language" that is identical to English. The Morlocks are much more barbaric and agile, and the Time Traveller has a direct impact on the plot.