But most of the interest of the original “Planet of the Apes” and its sequels lies in their skewed, satiric take on human nature. The apes are disconcertingly like us, and it’s fun both to imagine them as better than we are and to watch their civilization developing some very familiar discontents. They have race and class issues and a rather rigid social hierarchy: orangutans rule, gorillas enforce, and chimpanzees do most of the intellectual work — subject to the approval of the orangutans, who sit in judgment like the Académie Française or the Holy Office. The chimp scientists who try to save Taylor are accused of heresy: the orangutans and the gorillas are, to an ape, staunch creationists.

In the four immediate sequels — “Beneath the Planet of the Apes” (1970), “Escape From the Planet of the Apes” (1971), “Conquest of the Planet of the Apes” (1972) and “Battle for the Planet of the Apes” (1973) — the back story of humankind’s demise and the apes’ ascent gets filled in a bit, with tricky timelines. In “Beneath,” whose action takes place not long after that of the original, Earth is destroyed a second time; in “Escape,” two chimp scientists who have managed to get off the planet before the cataclysm land back in Los Angeles in the 1970s, where they are greeted with the same sort of skepticism and fear that Taylor encountered in ape society. (The movie even borrows a few incidents and plot points from Boulle’s novel, transposing them from human to ape.) These chimps, Zira and Cornelius (Kim Hunter and Roddy McDowell), are a married couple and in the course of the movie have a baby. They’re the Adam and Eve of the super-apes, and in the two final installments their son, who calls himself Caesar (McDowell), leads his band of merry primates in battle against the steadily devolving humans.