The Time Machine
Assignment: Outer Space
12 to the Moon
La nave de los monstruos
The Angry Red Planet
Beyond the Time Barrier
Il Pianeta degli Uomini Spenti
"Battle of the Worlds"
Atlantis, the Lost Continent
The Phantom Planet
Battle beyond the Sun
Планета бурь
"Planet of Storms"
Journey to the Seventh Planet
Day of the Triffids
Мечте навстречу
"Toward Meeting a Dream"
Ikarie XB 1
First Men in the Moon
Robinson Crusoe on Mars
Space Probe-Taurus
Terrore nello spazio
Spaceflight IC-1
The Wizard of Mars
Fahrenheit 451
Island of Terror
Mission Stardust
2001: A Space Odyssey
Planet of the Apes
Марс (Mars)
The Green Slime

Sci-Fi Films of the ’60s

This is a list of science fiction movies of the 1960s, with some reviews of my own. Once again, I’m interested in the ideas about science and space, and about how people might be in the future, in other places, in strange situations.

The Japanese fad of giant monsters (usually with some thin sci-fi excuse) gained momentum through the ’60s. Essentially, the Japanese movie industry was unable to accept that adults might be interested in real sci-fi. They weren’t alone in having this view— the majority of sci-fi movies made in the West were also about monsters that made girls scream.

Something else happened in the ’60s: space flight became a reality. So a suspense movie that happens in a contemporary space craft isn’t really science fiction, whereas any sort of drama in space had formerly been sci-fi by definition.

The gap in quality between the worst and the best is very wide. Mostly they have nothing to show for popular scientific ideas, and nothing beyond the common social ideas of their times. With a few notable exceptions, they are mostly very very bad movies, with little to recommend them even as Saturday night teen entertainment. But there were a few brilliant, watershed moments.

A rough rating system
++ must-see
+ good but flawed
OK interesting but not for everybody
poor, some redeeming features
−− sad, historical interest only

The Time Machine

1960 MGM, Galaxy Films

OK pretty adaptation of Verne's story

Director George Pal
Producer George Pal
Based on H. G. Wells’
The Time Machine
Screenplay David Duncan
Cinematography Paul Vogel
Music Score Russell Garcia
Rod Taylor as H. George Wells
Alan Young as David Filby
Yvette Mimieux as Weena
Sebastian Cabot as Dr. Philip Hillyer
Tom Helmore as Anthony Brideswell
Whit Bissell as Walter Kemp
Doris Lloyd as Mrs. Watchett

Date: 1900 is where the action starts; goes on to the year 802,701.

Vehicle: the time machine itself, a pretty contraption, meant to resemble the brass instruments of the 1800s.

Creatures: “Morlocks” blue skinned blond cave men with glowy eyes. and ugly teeth who only growl, and are lousy fighters.

Gadgets: besides the time machine itself, there are talking rings. The one that claims “my name is of no consequence” is really the voice of Paul Frees.

The machine is supposed to move through time, rather than through space. The only explanation concerns how the controls work. So the only science is the idea of time travel, together with speculation of what the world might be like in a distant future.

In this production, the time traveler stops in 1917, 1944, 1966, to see new fashions and wars unknown to H. G. Wells. A misfortune thrusts him to the year 802,701, where things have gotten disturbing, but at least there are still pretty girls looking for a handsome guy from another time.

Assignment: Outer Space

1960 Ultra Film - Titanus as “Space Men”

−− just awful space adventure

Director Antonio Margheriti
Screenplay Ennio De Concini (Vassilij Petrov)

Note: Titles in the U.S. release change several names, and reports the director as “Anthony Dawson”

Rik van Nutter as Ray Peterson
Gaby Farinon as Lucy
Archie Savage as Al
Alain Dijon as Commander George
David Montresor
Frank Fantasia as Sullivan
Joe Pollini as King
David Maran as Davis
Anita Todesco as Venus Control
José Néstor as Venus Commander

Date: 2116

Cocky young reporter Peterson is assigned to “a routine check of infra-radiation flux on Galaxy M-12”. What the others are doing is space is not explained, but they are military, under the guidance of the “high council”.

Cool three-stage rocket ship BZ-88, is depicted separating after launch. Many other other intricate rocket ships, space stations, and “space taxis” appear. The rocket models never succeed in giving an impression of size. Stock sounding-rocket movie depicts flight over planets. The travel consists in buzzing about the solar system.

An “electronic brain” controls things with its “impulses”. Messages are transmitted by Teletype.

Hibernation “in order to overcome the Earthly gravitation” is “a congealing process simulating an apparent death”. Lots of space walks, whereby cosmonauts just careen from one ship to another. “Weightlessness caused by lack of gravitation” is impressively depicted choreographically. On the space station, the narrator explains “gravitational area is similar to Earth’s”, because “all space stations rotate about a central axis”. Meteorites are deadly; asteroids are scenic.

The station “girl”, Lucy, tends things that convert “hydrogen into breathable oxygen”, when she isn’t being a navigator. She is nearly hit by a meteorite but saved and immediately hit upon by Peterson. He usurps the previous alpha male; she falls in love with him accordingly.

The pilot (and sacrificial hero), Al, is black!

Very badly poetic and philosophical. Lots of dreary moralizing about impertinent issues, e.g. giving people numbers. Space men are mostly dehumanized and depressed, in what appears to be an attempt to set a mood. Plot is awfully complicated, by multiple savings of cosmonauts, various fearful situations, a love-triangle, and a salvation of humanity. The dialog is laden with particularly confused technobabble.

12 to the Moon

1960 Columbia Pictures Corporation

−− jumbled and generally crummy.

Screenplay De Witt Bodeen
Story, Producer Fred Gebhardt
Art Direction Rudi Feld
Music Michael Andersen
Photography John Alton
Director David Bradley
Producer Thom E. Fox
Ken Clark as John Anderson
Michi Kobias Dr. Hideko Murata
Tom Conwayas Dr. Feodor Orloff
Tony Dexteras Dr. Luis Vargas
John Wengrafas Dr. Erich Heinrich
Bob Montgomery, Jr. as Rod Murdoch
Phillip Bairdas Sir William Rochester
Richard Weberas Dr. David Ruskin
Muzaffer Tema (Tema Bey)as Dr. Selim Hamid
Roger Tilas Dr. Etienne Martel
Cory Devlinas Dr. Asmara Markonen
Anna-Lisaas Dr. Segrid Bomark
Francis X. Bushmanas Secretary General

An announcer “speaking for the International Space Order” goes on to brag about how many people are watching his announcement.

The international effort to reach the Moon and proclaim it international territory.

The launch of ship “Lunar Eagle 1” is depicted with stock film of various USAF Atlas missiles, then an Atlas-Agena rocket. In space and on the Moon, it appears as a completely different cartoon rocket, through which background stars are clearly seen to move. It launches with liquid fuel, but switches to atomic power outside Earth’s atmosphere. A room full of controllers on Earth is probably also stock footage.

This movie takes a serious stab at the idea of international crews. They’re from Japan, Russia, Columbia, Germany, England, Israel, Turkey, Sweden, and Nigeria. It’s lead by a Olympian American of course. Of the twelve, three are women. One is explicitly an aid, but the others have their own functions. Rounding out the crew is a dog, two cats, two monkeys, and parakeets. The cats are involved in an uncertain and inconclusive way.

Dr. Heinrich is from the start noted to be unhealthy, on account of his being old. Sure enough, he gets heart problems en route.

There’s a brief shower scene: but it’s an ultrasound shower! Don’t see much skin on the girls, but then they’re interrupted by a scarcely-clad Olympian captain, who at least makes up in skin and muscles!

The Russian relentlessly plugs Russia. One crew member is the son of a Nazi — which makes for tension and drama with the Israeli.

Their space suits are 1950’s pressure suits, with fighter pilot helmets. During launch, they recline in aluminum lawn chairs. During maneuvers, everybody stands holding a pole, providing an opportunity for Hideko to fall into the arms of a cute crew member.

They have magnetic meteorite deflectors. An “invisible electromagnetic ray screen” provides a protective shield over their faces (and obviates the need for visors, which would obscure camera shots).

As to what they’re doing on the Moon, besides looking for creepy Moon-life and other creepy Moon things: they are “photographing various parts of our Galaxy, from which we hope to gain a new perspective.”

The captain decides to get out of his chair while they’re still launching. He’s nearly hurt by this silliness, but he recovers OK. No issues with weightlessness.

They are beset by an impressive array of dangers, just halfway through the movie these include:

The classic Moon scene shows black sky with stars, and a gloomy surroundings, with high cliffs in the distance.

As they disembark, the captain admonishes them to “develop an additional reflex action.”

On the Moon, the sound track starts out quiet like a vacuum should be. But there’s steam rising out of vents everywhere, and out the end of the rocket. They walk real slow at first, with long steps sort of suggesting low gravity (I guess).

First thing they do is look for air and life. A cave seems a good place to look, so the Turk and the Swede investigate.

In the cave, they promptly locate strange life forms. Then their equipment shows air, and so they pull their helmets off. And then they embrace and kiss. Well who wouldn’t? As they explore further for more private surroundings, a wispy being freezes the opening closed. These two aren’t seen again—just as well, because the plot is already getting way too complicated.

Gold, they find in a pile and throw aside. But a glowing stone is “like liquid fire” “beautiful, but evil!” “Careful you fools careful don’t damage it!”

The Nigerian looks at the sky and declares “I feel something”.

Strange symbols appear on a ticker-tape display, which Hideko can read (cuz Japanese is like symbols you know). These are sent by Moon people (she reads “the Great Coordinator of the Moon”). It tells them to go home, and that they read their minds by thought waves, live in a great sealed city below. Cuz the earthlings are contamination. And they are studying the two lovers who got lost in the cave, and are studying their emotions. And also the cats—please leave the cats. Meh, “could have been an Earth power, trying to scare us off.”

Just as we’re pondering that, Dr. Heinrich gets a heart attack.

So they drop the cats and skedaddle, naturally. (The cats disappear in an ominous shadow…we don’t really know what happens to them.)

All this was altogether too slow I guess, so at this point, the movie takes a strong turn for “hey, how about this!”.

They get more meteors, then the glowing Moon rock ignites—but that’s just filler.

And it continues to its dizzy end. Something like this:

Just to give the crew something to do on the way back home, the Moon-men get mad at the Earth and shoot a freeze-ray at it. The googoo-gorgeous captain is at wit’s end (unconventionally for this kind of story) but the scientists convince him there’s a way: to save the Earth—all they need to do is fashion an atom bomb and pilot it into a volcano! And why not… there’s a Nazi conspirator among them who wants to use the bomb for other purposes. I mean, why the hell not? So the Israeli and the son of the Nazi snuff it dramatically while dropping the bomb, forgiveness coming in the nick of time. The desperate measure at first seems to work, but then the ship is caught in the freeze ray — depicted as the rocket with snow sprinkled on the top of it—in space.

Then the Moon-men symbolically say they’re sorry, and everything's OK again.

So any plot it had falls all apart. I think 12 was way too many characters to make up dialog and stories for.

This movie shows a transition in thinking though—the Moon scenes are straight from pre-60s science fiction (and some of the more elaborate ones, at that), but the international crew, and women being taken somewhat seriously, is ahead of its time.

Did I mention that the Nigerian sports an earring? And he gets some of the better lines, and he’s not nearly the worst actor!

“Allah be praised!”

1960 Estudios y Laboratorios CHURUBUSCO-AZTECA

Argumento José María Fernández Unsáin
Adaptión Alfredo Varela
Productor Ejecutivo Heberto Dávila G
Eulalio González Lauriano (as Lalo Gonzalez ‘Piporro’)
Ana Bertha Lepe Gamma
Lorena Velázquez Beta
Consuelo Frank Regente de Venus
Manuel Alvarado Ruperto (as Manuel Alvarado Lodoza)
Heberto Dávila Jr. Chuy
Mario García ‘Harapos’ Borracho (as Mario Garcia Hernandez)
José Pardavé Atenógenes
Jesús Rodríguez Cárdenas

Primarily a musical sex comedy, featuring scantily clad Venusian women and a whistling, singing mustachiod vaquero Laureano who tells amusing lies in the bar in Chihuahua.

The monsters of the galaxy: UK UTIRR TAGUAL TOR ZOK

Vehicle: Silvery rocket ship “interplanetary craft”, represented by various rocket-shaped models, as if they couldn’t decide which one they liked best. shown landing on planets as models or on natural landscape, flying in space, orbiting planets. A mother ship or something, with a toroidal part.

Places: Venus, “Antarsis 1340sub3” planetoid of the 4th order, Mexico (Earth).

Robot: A sassy tin robot was left with all the knowledge of the men of his planet died in atomic war in his electronic brain. He can transport himself and others in a blink of an eye.

The inside of the craft contains lots of large spinning machines… function unexplained. But at least it looks designed for the movie, rather than stock electronic equipment. A freezing ray puts creatures in blocks of ice. Another suspended animation ray allows them to stop the conversation while they look up information.

Shows a space suit, weightlessness, evidently magnetic boots for walking on surface of spaceship. Venusian carry a big box that’s effectively a TV connected to the robot, which they consult for information. The robot provides a nice video summary of Mexico and Mexicans.

Venusians first try to talk to Laureano in various Earth languages, French and English.

One of the women inexplicably becomes a vampire, bat and all. Another falls in love with the charming vaquero.

Production values better than contemporary U.S. space-comedies, such as those of Abbott & Costello and Crosby & Hope and Lewis & Martin.

Beyond the Time Barrier

1960 American International Pictures

− low-budget time-travel post-apocalypse dystopian future

DirectorEdgar G. Ulmer
ProducerRobert Clarke
Writer Arthur C. Pierce
Cinematography Meredith M. Nicholson
Robert Clarke as Maj. William Allison
Darlene Tompkins as Tirene
“Red” Morgan as captain
Vladimir Sokoloff as The Supreme
Arianne Arden as Capt. Markova
Stephen Bekassy as Gen. Karl Kruse
John van Dreelen as Dr. Bourman
Ken Knox as Col Marty Martin

Date (primary action): 2024

Vehicle: Air Force modified Convair F-102 X-80

Air Force test jet goes into space. Coming back something happens, and at the base, the pilot finds nobody around…it’s all abandoned and run-down. He looks around, and sees futury-looking buildings (a “Citadel”).

Cut to scene where a guy with futury goatee looks at him with a triangular view-screen. They shoot him with a ray, and capture him. They can’t talk to him — they’re deaf mutes. The girls are cute, short skirts and high heels.

Lots of stock sound effects that were also used in Forbidden Planet. Several specials painted scenes aren’t bad.

But a couple of guys who can hear, are given awful stilted dialog. They think he is a spy, except for the daughter of the ruler, who can read his mind and be pretty at the same time.

There are bald "mutants", who talk about a plague. It’s a case of have’s vs have-nots. But it turns out, everybody is infected, and they’re (almost all!) sterile.

Now there’s a group of people like him from the past who can talk… and they explain everything and more. And then they explain more.

A plague happened in 1971 due to a bombardment of "caustic radiation" from outer space. Because of atomic bomb tests, it got through.

They got a "relativity paradox", "another dimension, a fifth dimension". They "break the time lock". Really more babble than I could swallow.

But it’s also a game of who’s fooling who.

Overall, especially given its low budget and time constraints, this is better than most entries in its category, and doesn’t seem completely silly. What little science there is, does not ever translate to action, it merely explains why people are in the scene.

"Gentlemen, we’ve got a lot to think about!"

Il Pianeta degli Uomini Spenti
"Battle of the Worlds"

1961 Ultra Film - Sicilia Cinematografica

Director Antonio Margheriti
Producer Turi Vasile
Screenplay Vassilij Petrov
Claude Rains Professor Benson
Bill Carter Commander Robert Cole
Maya Brent Eve Barnett
Umberto Orsini Fred Steele
Jacqueline Derval Cathy
Renzo Palmer
Carlo d’Angelo
Carol Danell Mrs. Collins

A Coke-bottle glasses Claude Raines steals the bulk of the dialog as the crusty “Old Man” Benson. He’s the stereotypical sociopathic inveterate scientist (the movie doesn’t distinguish his specialty), who can’t understand why they don’t just put him in control, after he has put them into their places verbally.

At least three characters utter the line “will somebody please tell me what’s going on” in the first 20 minutes of the movie. My best guess is, the moviemakers hadn’t yet figured this out either. But Benson has, by use of mathematics; “I have one advantage over all of you: Calculus!”

There’s a long sequence on Mars Base 3, and a substantial amount of space flight, and space walking (called “self-launching”), but the effects are very like those in Margheriti’s previous Assignment: Outer Space.

So a hollow planet “the Outsider” has come to visit, meaning no good. It launches flying saucers against which Earth rockets are nearly defenseless.

There are insectoidal alien masses inside the planet, but they are meant to be dead. All that remains is the “electronic brains” that control the flying saucers and the planet, which are represented as glowing plastic cylinders.

Women are prominent throughout the movie, but often their role is described as “assistant”, and they are explicitly told to fetch coffee. The only non-Caucasian I noticed was a Chinese member of the United Commission.

This is very tiresome. Without for Raines’ performance, it would be chokingly dull, and simply a worse repetition of Assignment: Outer Space.

This movie provides its own parables:
“What importance does life have, young fella, if to live, means not to know?”

Battle beyond the Sun
(U.S. edit of "Небо зовет")

1958 Filmgroup
distributed by American International

U.S. version
ScreenplayNicholas Colbert,
Edwin Palmer
Producer, Director “Thomas Colchart”
Asst. Producer Francis Ford Coppola
Music Jan Oneidas
Special Music Carmen Coppola

Note: Thomas Colchart is a pseudonym for Roger Corman

(cast members cited are the people who voiced the overdub, not the actors)

This is one of several superior Russian movies bought by Roger Corman and re-edited for U.S. distribution. It is often noted as the first major work of Francis Ford Coppola, who was hired to do the re-edit.

It was a bit of a question to me, whether to list this as two movies or one. My goal is to compare science fiction and social ideas presented in these things, and the Corman version is a re-write, primarily to alter objectionable political and social messages.

What Corman did here is outrageous on several levels. The edits went far beyond removing Soviet propaganda, to destroy the cohesion of the story line, and confuse or delete the science and engineering aspects of the premise. By all accounts, it was just a fast way to put a movie out, to make cash.

Perhaps biggest outrage is the complete replacement of the credited actor’s names with the those of the voices of the people who overdubbed them, evidently to mask the movie’s Soviet origin.

It’s telling that, in the first release of the U.S. version, also Corman’s name is not listed—a “Thomas Colchart” is listed instead as producer/director, evidently a pseudonym. Small wonder—but I take issue with anybody who calls Corman’s actions “shameless”.

Besides this, changes seem intended to abstract the U.S./Soviet distinction to one between “North and South Hemi”, and to change the politically charged motives of the bad guys.

But the most bizarre edit was to drop in some silly, cheap monsters—by all accounts, directly on Corman’s order—making a farce of an otherwise dignified story. This alone was a comment on the intelligence of the U.S. audience.

In a sense, Corman’s actions proved the point of the anti-American propaganda that he cut. This was greedy and foolish, to the point of being immoral.

On the other hand, given the mood in the U.S. at the time, a simple overdub of the original would have been impossible to show. I think it was a pity: the Soviet attitude portrayed would have been instructive to Westerners—and it might have been interesting to contrast the silly Soviet propaganda with U.S. propaganda, even at the time.

Instead, what we got was a particularly weirdly confused space/horror(?) movie, with a strange mix of social messages.

The U.S. trailer makes it to be a horror story, emphasizing the monsters and “planet Askar(?)”.

US version begins with science intro à la Science Fiction Theater, mostly showing clips of NASA models (replacing the corresponding scenes of model Soviet space probes). Calls itself “a Fantasy of the Future”. Good heavens… this is the same intro as to Corman’s later Voyage to the Planet of Prehistoric Women. Man, that’s cheap!

Some of the changes can be interpreted in terms of making the content palatable to touchy Western audiences, some in terms of hiding the Soviet origin of the movie. But some defy charitable interpretation.

Some scenes seem gratuitously altered: in a scene which in the original described the space station in detail, the sound is replaced by narration, which doesn’t go into the same detail. This is very hard to justify. (Weirdly, after the “glorious return” scenes at the end, further narration is added about the glory of science and man, but this time, with a different narrator’s voice.) The asteroid is renamed “Ankor”(?) in the U.S. version…funny thing to change.

The U.S. version explanation runs:
It’s November 7th 1997. After nuke war, citizens of “South Hemis” plan to land on Mars… To keep is secret from North Hemis, they name the project “Red Planet”. Unknown to them, the North Hemis have their own Mars rocket. In the original, the bad guys are Americans; in the U.S. version they are North Hemis.

The name of the Soviet Mars-rocket is Rodina (Homeland), which in the original is painted as “Родины” on its side. This is replaced in the U.S. version with a logo design (which in a few scenes kind of wiggles suspiciously), and the rocket is referred to as “Mercury”. Likewise, scenes showing people writing—these too are removed. But was it just too hard to remove the Soviet star from the fins of first rocket ship? Or did they miss that?

In U.S. version, the TYPHOON’s problems are blamed on magnetic field of the sun, and asteroids, rather than American haste and unfortunate decisions due to financial pressures. Scenes depicting American decadence—neon signs etc. are gone.

The U.S. version has ugly “creatures”, all slimy with a big toothed, vaginal mouth and and eye-stalks and tentacles and snortn’ and growlin’ like a bull-lion; they hop up and down and bump into one another in rage(?) or something? They scare(?) an astronaut to death or something(?). No apparent connection with the rest of the movie—one might venture to guess this is because the audience is expected to be so stupid as not to require one.

In the original, the heroic astronaut is killed by radiation. In the U.S. version, although we don’t see it happen, we are told he is killed by the “creatures”.

It’s hard to make out the rationale for the title. There isn’t anything like a “battle” in it…unless it’s the two weird monsters. And they stuck in some talk about the sun, but… they were falling into the sun at some point…Just random nonsense, I guess.

In the overdub, the actors have a great deal of trouble getting their technobabble out, but also with achieving any sort of natural tone or tempo.

Probably the single coolest scene in the movie, that of Mars rising over the asteroid and astronauts, is marred by the observations, added in the U.S. version:

“The planet does absorb the suns rays!”
“Then life must exist there!”
“In all probability.”

Here’s another mystery: the “glorious return” ending scene was stupid and immaterial in the original. Why on earth didn’t they cut that?

A single positive thing to say about the edits: the overall message that people ought not to be fighting one another, is preserved.

Atlantis, the Lost Continent

1961 MGM

− heat ray in Atlantis.

George Pal
Screenplay Daniel Mainwaring
Gerald Hargreaves
Sal Ponti as Demitrios
Joyce Taylor as princess Antilla
John Dall as Zaren
Edward Platt as Azor

Hadn’t seen this since I was a kid. It’s about the mythical ancient land of Atlantis, which Plato described as being on an island, perhaps in the Atlantic ocean.

It gets sci-fi rating on account of some vaguely scientific themes, and a “heat ray” that goes wild, causing destruction.

My main memory was that (to my horror) the rogue ray blasts a guy (the bad guy I think) turning him into a skeleton. But it’s a skeleton from a doctor’s office — with the cut for displaying the inside of the brain clearly visible. Even then I thought this was very questionable.

There’s also an interesting theme about the misuse of technology, some crystals, that proves their downfall.

Voyage to the Bottom of the Sea


The Phantom Planet

1961 Four Crown

Produced by Fred Gebhardt
Directed by William Marshall
Story by Fred Gebhardt
Screenplay by William Telaak,
Fred de Gorter,
Fred Gebhardt
Dean Fredricks as Capt. Frank Chapman
Coleen Gray as Liara
Tony Dexter as Herron
Dolores Faith as Zetha
Francis X. Bushman as Seson
Richard Weber as Lt. Roy Makonnen
Al Jarvis as Judge Eden
Dick Haynes as Colonel Lansfield
Earl McDaniel as Pilot Leonard
Michael Marshall as Lieutenant White
John Herrin as Captain Beecher
Mel Curtis as Lieutenant Cutler
Jimmy Weldon as Navigator Webb
Akemi Tani as Communications Officer
Lori Lyons as Radar Officer
Richard Kiel as a Solarite
Susan Cembrowska
Merissa Mathes
Gloria Moreland
Judy Erickson
Marya Carter
Allyson James
Maryon Thompson

Note: Richard Kiel was known as “Jaws” in a James Bond film.

Date: 1980

Rockets all blast off from the USAF base on the Moon. Just what they’re doing there is not explained, but there’s some talk about a Mars project.

Vehicles: USAF rocket ships: Dart-like with very 50s paint jobs, at least have a realistic stock of equipment. Aliens all drive asteroids. Squeal/roar of monster’s ships very similar to that of Darth Vader’s.

Aliens live on asteroid Rheton. They are people 6 inches tall. Chapman shrinks to their size, because of the atmosphere—the atoms have “narrower electronic orbits” (their size has no further bearing on the story.) They fail to explain why they speak English. It is immediately suggested that Chapman take one as his bride.

Main alien technology is gravity. They move their asteroid about with it, and use it as a weapon.

Monsters: “Solarites”, who are very ugly and unreasonable and have a chip on their soaring shoulders, but can appreciate a pretty girl.

Plenty of asteroids and meteors. Space walk is marred by deadly micro-meteorites that whiz and ricochet. The co-pilot is killed on the space walk when his air line is busted, then he floats out into space (2001).

At first Chapman likes Liara, the daughter of the boss, then he decides she’s a snob and goes for the mute girl Zetha (who finally gains the ability to speak by screaming at a Solarite.)

While the astronauts are a boys-only club, there are female technical officers, one of whom isn’t Caucasian.

Pretty girls are too self absorbed.
If you gotta fight a duel for honor, you gotta
Ugly monsters are evil.
Nobody will believe you when you get home.

Journey to the Seventh Planet

1962 Cinemagic Inc.

−− very low budget, poorly done. One of the few movies set on planet Neptune

Producer, Director Sid Pink
Screenplay Ib Melchor
John Agar as Capt. Don
Carl Ottosen as Eric
Greta Thyssen as Greta

Date: 2001

United Nations is sole governing body of the Earth. The only goal now is the pursuit of knowledge.

Vehicle: Spaceship Explorer 12: A stock Atlas missile launch, a small celluloid image of the missile serves thereafter to depict it in flight. Inside it’s a big metal cylinder, packed with ’60s electronic boxes, and what may be jet fighter seats. Nuclear engines. Based on figures they cite, must be traveling at about half the speed of light. Floating apple depicts weightlessness. Atmospheric entry depicted by stock sounding rocked video.

Mission: Survey, land, and investigate the seventh planet, Uranus (with the ‘a’ pronounced as in “father”). Some radiation signal has been traced to this planet.

Weapons: ray guns.

Alien: some kind of mind-controlling narrator-creature. Every time he speaks, he strains to be weird and scary, bragging and threatening. Miserable. Later depicted as a glowing, throbbing glob in a hole.

Crew: white guys in flight suits, accents vary, but several are plainly Danes. (The women in this movie are all mirages.)

Dialog is standard gee-whiz sci-fi fare. Starts off talking about sexual relationships, in a very 60s macho way.

As they orbit, an alien entity appears as flashy lights, and announces that it will drain their minds and possess them, etc. etc., and make their world its own. (The crew doesn’t remember the monologue: it’s for our benefit.)

Stop-motion shows foliage being generated about a model of the rocket. Planet Uranus looks just like a Danish pine forest. (Cuz the alien made it like that.) But the plants have no roots! They just jump right out of the rocket, where they get “deja view”. “Has anyone seen anything alive?” they look and see the forest full of trees and flowers, and shrug. (Cuz by “alive” they mean “animal”.)

Suspecting trouble, they don blue, yellow, and red space suits, and find a way through a “force field” that takes them out to the true surface of the planet, which is all snowy and icy. They are very concerned about radiation. Further vague stop-motion of landscape, is indicative of… not clear.

A stop-action cyclops rat-mouthed monster appears, and is quickly dispatched by the ray guns. A screaming tarantula (black-and-white scene ripped from another movie) proves more robust, but they out-think it.

The movie was originally shot in Denmark. The story is, the Danish special effects were judged unshowable, and replaced with scenes ripped out of other sci-fi movies. The result is doubly clumsy. Most of the cast weren’t experienced actors, and have decidedly Danish accents.

Is it alive? Let’s try shooting it!
Great women in space? Better look for a hypnotic brain!

Планета бурь (Planeta bur)
"Planet of Storms"

1962 Nauchno-Populyarnich (Soviet Union)

+ space drama, superior to competing movies from the West at the time

Director Павел Клушанцев (Pavel Klushantsev)
Screenplay Александр Казанцев (Alexander Kazantsev)
Vladimir Emelyanov as Vershinin
Georgi Zhzhenov as Bobrov
Gennadi Vernov as Alyosha
Yuri Sarantsev as Scherba
Kyunna Ignatova as Masha
Georgi Teikh as Allan Kern

Soviet rocket ships voyage to Venus: Сириус, Вега, Капелла (Sirius, Vega, Capella, the last of which is immediately destroyed). Sirius goes on to land; Vega remains in orbit of the planet.

Robot “John” plays roles of electronic brain, super-strong big brother, and menacing monster. Much discussion revolves about the question of whether it could replace cosmonauts.

Features meteorites, an excellent robot, an emotive female cosmonaut, man-eating plants, ferocious guys in dinosaur-like suits (also man-eating), a floating car. Not sure about computers… weightlessness is depicted as being lots of fun… the younger guys have the most amazing bouffants… And there’s a hook…

It’s got everything!

The overall quality is better than Western sci-fi of the time. Besides the rockets and props, the atmosphere of Venus is particularly nicely rendered. It’s very colorful, and in many ways very beautiful.

When grabbed by the man-eating plant, the guy pulls out his knife and promptly drops it! Bad move! Cosmonauts shoot the bad guys with conventional hand guns.

The film was bought and cut up by Roger Corman to make Voyage to a Prehistoric Planet (1965), and then Voyage to the Planet of Prehistoric Women (1966), both of much less value than the original.

Seems to be available with subtitles: http://sepnet.com/rcramer/scifi.htm .

The book (in Russian) by Kazantsev is also available on-line http://www.rusf.ru/books/

Мечте навстречу (Mechtye Navstretsu)
"Toward Meeting a Dream", or A Dream Come True
Begegnung im All

1963 Odesskoi kinostudii khudozhestvennikh (Soviet Union)

Directors Михаил Карюков (Mikhail Karyukov)
Отар Коберидзе (Otar Koberidze)
Screenplay М.Бердник, Иван Бондин (A. Verdnik, I. Vondin)
Николай Тимофеев(Nikolai Timofeyev) Cosmonaut Krilov
Отар Коберидзе(Otar Koberidze) Cosmonaut Ivan Batalov
Лариса Гордейчик(Larisa Gordeichik) Radio Astronomer Tanya Krilova
Б.Борисенок(Boris Borisenok) Cosmonaut Andrei Sayenko
П.Шмаков(Peeter Kard as P.Shmakov) Commander
А.Генесин(A.Genesin) Cosmonaut Pol
Николай Волков(Nikolai Volkov) Doctor Laungton
Т.Почепа(T. Pochepa) Etaniya
and others…

To begin with, the presentation of this story is very odd in the sci-fi genre. Many of the scenes are narrated, including all introductions. The story is punctuated with florid, heroic song (not badly done, but strange—reminiscent of Japanese manga). I have mixed feelings about this, but I’m willing to call it a style. The acting is overall quite good.

We have: aliens (from “Centuria” but they’re just people in fancy outfits) with very cool gizmos, scenes on Centuria, Earth, the Moon, Mars, and Mars’ moon Phobos, space travel by aliens in a cool starship and by cosmonauts in rocket ships, a smidgen of comic relief, plenty romantic episodes, lots of depiction of suited cosmonauts walking on the Moon, Mars and Phobos, and a small space-emergency vehicle.

(What is it with aliens with the capes and skullcaps?)

Fun Soviet public efforts, heroic scenes, and inspiring speech-giving, there’s a gigantic public news-television, to which the crowds turn for their pravda. There are multiple scenes of titanic Soviet public environments.

And there is a heartbreakingly pretty radio-astronomer/cosmonaut (mostly seen operating a radio).

Gorgeous settings and devices are the strength of this movie. Later sci-fi was certainly influenced.

The alien starship is of a design I have never seen elsewhere. a sphere circled at the base by thick pipes—very wild and pretty.

Many traditional looking rockets (like heavily-winged ICBM’s): spaceship “океан” (“Ocean”) bound for Mars, another “метеор” (“Meteor”), cargo spaceship “RDU-12”. As special effects, these are generally unimpressive. A cute little “emergency ship”, with the cabin of a fighter plane and two egg-shaped pods on either side—I don’t know what to compare this to.

Nice clips of Soviet military planes.

No weapons; no robots. Computers? not as such.

(In these notes, I usually avoid detail as to the story line, not to spoil it for possible viewers. But I had a hard time sorting this one out, due to a complicated plot, and poor translation of poor subtitles, so I’ll include a brief sketch.)

Signals are received from an alien starship, which (somehow?) crashes on Mars, but first dispatching a pod to Earth, which splashes down in the ocean, and is found to contain the ship’s log-book.

International discussions ensue, concerning how to proceed. Dr. Laughnton plays the foreign voice of doubt, hesitation, and irrational fear. The brave Soviets proceed, but the questions he raised reappear…

Plans to launch a spaceship to Mars are accelerated by means of transporting more “energy” to a Moon base. The spaceship arrives at Mars, but is damaged, and requires more energy to leave, so more energy is requisitioned from the Moon. (It gets complicated here and I don’t understand it all.)

On Mars, cosmonauts appear in long outdoor scenes, struggling with a very harsh environment. (The outdoor scenes in Alien are strongly derivative from these.) Here they discover the crashed alien starship, and one dead alien cosmonaut. But…there should be three aliens—where are the others? A few of the Mars scenes even look surprisingly like the real planet.

A cargo spaceship “Meteor” from the Moon lands on Mars’ moon Phobos (itself having insufficient energy to land on Mars?) Here the cosmonauts walk and observe a brilliant red Mars rising, in a scene very similar to that in the earlier Небо зовет “The Sky Calls”. (Small technical complaint: rising Mars over Phobos is depicted fully illuminated, as viewed from Earth—whereas viewed from Phobos, Mars would usually be partially illuminated.)

On Phobos, they encounter…the missing alien cosmonauts! One still lives. They can take only two passengers from Phobos to Mars in the emergency craft, so one cosmonaut must stay on Phobos (permanently?). This is made even more dramatic by the crash of the craft, but they survive! The last scene shows a rocket ship apparently returning to Earth. (I don’t understand how, given that the emergency craft, which was supposed to deliver the “energy” to get them off Mars, exploded.)

Overall, it is a very pretty thing to watch—and because it’s rather beautiful—not nearly as ridiculous as the story is to relate.

See http://www.nashekino.ru/data.movies?id=2985

Ikarie XB 1

1963 Barrandov (Czechoslovakia)

DirectorJindřich Polák
Screenplay Pavel Jurácek
Based (loosely) on Stanislaw Lem’s
The Magellanic Cloud
Zdeněk Štěpánek Capt. Vladimir Abajev
Frantisěk Smolík Anthony Hopkins
Dana Medřická Nina Kirova
Irena Kačírková Brigitta
Radovan Lukavský Cmdr. MacDonald
Otto Lackovič Michal
Miroslav Macháček Marcel Bernard
Rudolf Deyl Ervin Herold
Martin Ťapák Petr Kubes
Jiří Vršťala Erik Svenson
Jaroslav Mareš Milek Wertbowsky
Marcela Martínková Steffa
Jozef Adamovíc Zdenek Lorenc
Jaroslav Rozsíval The doctor
Růžena Urbanová
Svatava Hubeňáková Rena, MacDonald’s wife
Jan Cmíral
Vjačeslav Irmanov

Date: 2163

Vehicle: Ikarie is an interstellar craft. “A small space town with 40 inhabitants” Smaller space saucers are launched from main vehicle.

A “Master Computer” is onboard.

Destination: the planets of Alpha Centauri, where “the existence of life is expected”. This goal is mused over throughout the movie, but its realization is disappointing. They will return in 15 years. Due to time dilation, the travelers will have aged only 28 months. (Time dilation is later ruled out as the cause of a crew member’s illness, on account of its “mathematical abstraction”.)

Robot: “Old-fashioned” robot “Patrick” is mostly comic relief.

Giant space port, ray-gun weapons. Weightlessness is depicted in a few scenes.

B&W. Lavish sets, costumes reminiscent of early Star Trek.

Portrays social aspects of long-term space travel. They have a fancy space ball, and dance a reserved jig to space jazz. Deals with space madness and space sickness.

English-dubbed version released in U.S. as Voyage to the End of the Universe.

Czech DVDs with English subtitles are available.

H. G. Wells’ First Men in the Moon

1964 Columbia

DirectorNathan Juran
ProducerCharles H. Schneer
Associate ProducerRay Harryhausen
Edward Judd Arnold Bedford
Martha Hyer Kate Callender
Lionel Jeffries Joseph Cavor

Year: the bulk in 1899, later:

Aliens: Moon inhabitants – Selenites

Travel to the Moon is made possible by a paint that shields gravity.

Spaceflight: shows weightlessness, but little else of interest. On the Moon, they discuss the vacuum, and so wear space suits—to talk, they have to touch helmets-but the suits don’t have gloves.

Kate comes aboard by accident, but proves useful by supplying food. She starts out as a technological woman, driving a jalopy. But her relationship with Bedford makes no sense: he lies to her and cheats her, and she goes back to him no struggle at all.

Bedford and Kate kill Selenites indiscriminately, Cavor wants to learn from them and teach them. The Selenites are ugly and scary, but it is unclear whether they’re good or bad. Ultimately it doesn’t matter.

Robinson Crusoe on Mars

1964 Paramount

− Some interesting, quick FX, wrong-headed social moralizing

Directed by Byron Haskin
Written by John C. Higgins,
Ib Melchior
Paul Mantee as Cmdr. Kit Draper
Adam West (Batman) as Col. Dan MacReady
Victor Lundin as “Friday”
Mona the Wooley Monkey

The trailer proclaims that the movie is “scientifically accurate”, “just one step ahead of reality”.

Vehicles: space probe to Mars. Landing craft looks rather too much like a Gemini capsule—doesn’t last long. Alien mining ships, look pretty unworldly. Shaped rather like the body of the 1953 War of the Worlds Martian ships.

I liked was the extremely swift motion of the spacecraft. It’s just painted celluloid, but they are trying to depict the great speeds of real interplanetary craft. Also depicts frictional heating on entering the atmosphere.

Depicts weightlessness (by means of monkey). Talks about difficulty breathing Martian atmosphere (as I recall, at the time the measurements of its thickness varied greatly).

They encounter a meteor, with the result that for most of the movie we miss West’s wonderful presence.

The scenery is colorful, anyway, and the plot is busy, anyway. So it’s not completely un-watchable.

One remarkable special effect is that of the evil slaver ships darting about, death-raying the slaves. Pretty cool, actually, and not reminiscent of any other sci-fi spaceships.

Slavers are evil.
Non-whites are natural servants.
Oh yeah, the meteor.

Space Probe-Taurus

1964 American International Pictures

− very low budget; rather behind its time sci-fi-wise

Produced by Burt Topper, Leon D. Selznick
Written and Directed by Leonard Katzman
Technical Assistance Space Technology Laboratories,
Rocketdyne Division of North American Industries Inc
Francine York as Dr. Lisa Wayn
James B. Brown as Col. Hank Stevens
Baynes Barrow as Dr. John Andros
(Baynes Barron?)
Russ Fender as Dr. Paul Martin
(Russ Bender?)

Date Year 2000

Ships belong to the USA. Operations are completely military.

Launches and an explosion depicted by Atlas-1 and Redstone missile takeoff footage. Views of Earth from sounding rocket footage.

Seems what they’re looking for is a planet people can live on.

First ship: Faith-1 — Captain crawls back into his ship, calls headquarters to request destruction of space ship, because “gasses penetrated suit”, ship may be “infectious”, “radiation beyond Roentgen scale”. The general shrugs and pushes the button to blow ’im up… and that’s the last we hear of that.

Main ship: Hope-1, is nuclear powered rocket with big fins. Little detail can be seen in the miniature. The movie includes space flight issues of computers, space walks, space suits, jet packs, airlocks. Spend a lot of time fixing computers. The ship also has a “force field”, used several times. A submarine sonar pings all the time in the background.

There is a lot of discussion generally in this movie. This includes the usual man-in-space topics: replacement by computers, necessity of men, and especially women, in space. Unfortunately, they repeatedly confuse “solar system” and “galaxy”.

The wisdom of having a woman on board is discussed at length. The commander states that he opposed her being there. The tough guy points out she “fills out her space suit better than any of the rest of us”. The old guy points out the only man more competent weighs a lot more. Compressed food is served by the lady of course. She goes on to prove her worth as a crew member — and — as a woman!

They find alien craft that doesn’t respond to hails, go to investigate. It’s all open, and there are gizmos inside with weird writing. Then an ugly alien guy shows up and jumps them, so they shoot him dead. Then they blow the alien ship up, because it’s a menace or something. Afterwards, they discuss this — in terms of morality, science, and of social problems, and one guy suggests it might have been all for the best. This episode has nothing to do with the rest of the movie.

A swarm of meteor(ites!) dead ahead! They look like burning charcoal nuggets. A force shield is used to deflect most of them, but this somehow causes them to speed out of control.

They find themselves nearing the “Triangulum galaxy” (“a couple of million miles from anywhere”.)

They land on an ocean of a “moon” for repairs. Seems to be no problem for the space ship to be deep underwater. Later they call the moon a planet.

The ship gets investigated by giant crabs. A marvelously confused discussion of evolution ensues, concluding with a decision to look for humans on the surface. They break out the scuba suits, and the tough guy goes to see what the land looks like. He is closely followed by a real ugly submarine humanoid alien. On land it looks just like — California. As he comes back the alien jumps him — he doesn’t make it. We find out he was a good joe after all.

The first alien mask was apparently from The Wizard of Mars, and the second from War Gods of the Deep.

Although the writing is very weak in technical and scientific aspects, and there are big plot flaws (as is typical of the genre), the psychological aspects are much better done — even interesting at points. The acting in this movie is superior to that of most others of the genre.

Aliens just want to jump on us and scare the dickens out of us.
Tough guys are really softies.
People don’t have to live on Earth anymore!
The alpha male gets the girl, even if he opposed her being on board (somehow just makes him seem more sweet).

Dr. Who and the Daleks


The Wizard of Mars
Horrors of the Red Planet

1965 Karston-Hewitt Organization

−− very confused - space flight to mars

Directed by David L. Hewitt
Produced by David L. Hewitt, Joe Karston
Writing David L. Hewitt, Armando Busick
Director of Photography Austin McKinney
Art Director Armando Busick
Technical Advisor Forrest J Ackerman
John Carradine as a well-known name and dreary disembodied head
Roger Gentree as Steve
Vic McGee as Doc
Jerry Rannow as Charlie
Eve Bernhardt as Dorothy

Date: 1975

Vehicle: a rocket ship Mars Probe One, which we see mostly from its cabin, and from its flaming rear end, heading for the Trifid Nebula. The technobabble starts out making some sort of sense, but kind of boring.

A couple of flaming meteor-like object fly at them alarmingly, and they encounter an object of “monstrous size”, which… interferes with them or something. They’re confused. We’re confused. They jettison the “main stage”.

Just awful dialog and lots of it, solidly banal, often just to inform us of what we have just seen. Narrative is often provided to explain what they hadn’t managed or remembered to depict, and to repeat what had just been explained in dialog.

Never mind acting — characters are stock: the brave captain, the womanly woman, the smart guy named “Doc”, the impulsive, cute young guy.

Scenes are: the inside of the ship, a nice painting of a valley, a “canal” that they paddle down in their handy rubber rafts, then a very long series in a cave where they just keep being lost, then inside a volcano, where they continue to be lost. They proceed to be lost some more in a sand desert.

After their uneventful landing, they don space suits. At least someone advises against making any rash decisions.

The narrator keeps telling us that they have a sense that they are being observed by some alien intelligence. Typical 1950s eery music serves to indicate that it should be eery.

They come upon tiles laid on the ground. They point out they’re too symmetrical to be natural (they are tiles!) and propound for some minutes on the meaning of it all, “just like Troy”.

The woman keeps saying stuff like “in a way, it’s beautiful”

So they find a castle-like “city” which looks like a big building with a glowing dome on it. They go on in, where it looks eery, on account of the spider webs. (I was relieved that they at least remarked on this. They find a couple of things that had little to do with anything,) and then they find an alien in some kind of suspended animation, which they pronounce dead while it is clearly moving. It has huge ears and a visible glowing brain. They establish telepathic contact with it. And then they walk away. Next scene.

John Carradine got top billing, but only appears 3/4 to the end of the movie, just as a talking image of a head projected before stock space pictures. He propounds drearily about this and that with an echo for most of the rest of the movie. Horrible.

Oh dear. It’s so dumb. They stick a key into a clock mechanism that re-starts time, which results in the disintegration of the city — run run run! They run out, now without their space suits… and disappear. And then they’re back on the space ship, but all dirty, the men with beards…

And more dreary immaterial narration ensues.

OK where was the promised “Wizard”? Is that what Carradine was supposed to be? Or is it just that the lady’s name is “Dorothy”?

Oh… In the titles, it says “John Carradine as”, but doesn’t say “as what”. I guess they too couldn’t decide what he was.

“We had to go to Mars! We couldn’t go to the Moon, like everybody else!”

Terrore nello spazio / Planet of the Vampires

1965 Italian International Pictures /
American International Pictures

−− this plumbs some depths, so unless you’re into that…

Director Mario Bava
Producer Fulvio Lucisano
Screenplay (English) Ib Melchior,
Louis M. Heyward
Based on Renato Pestriniero’s short story
One Night of 21 Hours
Barry Sullivan Capt. Mark Markary
Norma Bengell Sanya
Stelio Candelli Brad
Ángel Aranda Wes
Evi Marandi Tiona
Franco Andrei Bert
Fernando Villeña Dr. Karan
Mario Morales Eldon
Ivan Rassimov Carter
Alberto Cevenini Toby Markary
Frederico (Rico) Boido Kier
Massimo Righi Sallis

Date ?

Ships Argos and Galliott are blue chevron-shaped things, with some design similarities with the Enterprise of Star Trek. They’re cool designs, but the of size is completely lost—they look like toys.

They are traveling to planet Aura, it seems, to find the source of signals, possibly produced by intelligent life.

Space ship interiors are big and roomy, with steel floors and thick pressure doors and lots of blinky panels and 1960s switches and buttons. No apparent computers or robots.

Two races of aliens are found on Aura. One is dead, found in a creepy deserted alien ship, with sexual suggestions outside, glowing cones inside.

Alien skeletons “three times the size of us … probably belonged to an ancient civilization.” Finding them is reminiscent of Alien Pretty scary recorded voices of dead crew. But these are not the aliens to be afraid of.

The species “Aurans” native to the planet is non-corporeal and scary. Live on a “vibratory plane different from yours”. Their sun has been dying. They “summoned” the earthlings to take their bodies. They manifest themselves as walking dead or flying lights (luminous globes out the corner of my eye)

Infrared laser to penetrate fog. Lots of technobabble (time units are “fractions of megon”). A “meteor rejector” (to avoid ship “look like a piece of Swiss cheese”) figures heavily in the plot. Black rubber suits with high collars, and yellow trim, look like motorcycle racing suits. (Their small yellow helmets are kinda cool, really.) Lots of trouble with acceleration effects. Immediately contract space sickness that makes them attack one another. Ships seemed to be powered by “solar batteries”. Crew have wristwatch TV communicators.

Crew is all white, but there is an amusing story about the nationalities of the actors. Women are equal crew members who simply emote more, and look sexier in their suits.

Crew carry “field ray gun”: some sort of heat-ray weapon. Ship carries plutonium detonators for blowing stuff up.

The influence of this movie on Alien is often noted. It’s unmistakable especially in the scenes of the deserted alien spacecraft.

The budget for this movie was legendarily low, and given that, its substance is very impressive; the color and camera work is great. Don’t expect splendid special effects, but there are a lot of them, and it does have atmosphere — a very dark, misty one.

The atmosphere is unfortunately wasted by a detailed explanation provided by one of the (unconvincingly) walking dead. But have no fear of a Hollywood ending.

Don’t turn your back on the unknown
Don’t trust science
Don’t turn your back on your crew members
Don’t trust the walking dead
Don’t trust your crew members when they’re the walking dead
The aliens want our stuffin’s
Watch out for the meteor!

Spaceflight IC-1
an adventure in space

1965 Shepperton Studios

−− except as an exploration of a certain space flight scenario

ProducersRobert L. Lippert
Jack Parsons
DirectorBernard Knowles
ScreenplayHenry Cross
PhotographyGeoffrey Faithfull
ArtHarry White
Film EditorRobert Winter
Production ManagerClifton Brandon
MusicElisabeth Lutyens
Bill Williams as Mead Ralson
Kathleen Breck as Kate Saunders
John Cairney as Steven Thomas
Donald Churchill as Carl Walcott
Jeremy Longhurst as John Saunders
Linda Marlowe as Helen Thomas
Margo Mayne as Joyce Walcott
Norma West as Jan Ralston

Date 2015

Spacecraft: IC 1 Interstellar Colony # 1

It is heading for Earth-2, outside our solar system, is a joint project of GB, Canada, and the United States. The Earth is overcrowded, so flights of 25, even 50 years must be undertaken.

The nose of the “rocket” rotates continuously simulating the pull of gravity. “Judging by Earth standards, should be nearing the light barrier.”

Crew consists of 8 men and women and their children. Two further men and two women are in suspended animation (is an “experiment”). They all eat algae, but seem bitter about it.

A space station is depicted, a usual wheel shape (but the round part seems to be constructed of straight tubes glued together).

A guy dressed up like a U.S. army officer introduces everything. A lot of reading from Ecclesiastes follows.

This movie is mostly about politics and social questions. No great amount of imagination is applied however. Although the crew are from a centralized society (World Government), and although they were picked for the flight, and although they presumably knew what they were getting into, they object to their circumstances and to being bossed around. In fact that’s the main theme. They are sarcastic and snippy with one another from the beginning. One thing leads to another, which leads to mutiny.

Women play a large — if traditional — role in this movie. They are teachers of children, a doctor, and mostly, wives and mothers. The primary issues concern reproduction.

A clown appears from nowhere to entertain the kids… looks like a sort of holographic projection. No explanation is offered.

The sets consist of two model spacecraft and some radio and laboratory equipment.

One character is a “closed cycle man” who eats no food and never sleeps. His parts are mostly replaced by electronics. Depicted as a guy in a stationary box, with his head in a glass bowl. He says he feels nothing. But he meets his lack of regret with irony.

The captain threatens to kill everybody unless he can remain captain. Somehow he makes this sound reasonable — although at one point the mission is of highest importance, the next, it seems the command structure is paramount. Incredibly, this apparent inconsistency goes unnoticed. Well, he and his wife haven’t managed to have kids, so maybe it’s understandable.

“Rule is All — we are bondsmen.”

Fahrenheit 451


− impressively lame attempt at Bradbury

François Truffaut
Producer as Lewis M. Allen
Julie Christie as Clarisse,
Linda Montag
Oskar Werner as Guy Montag
Cyril Cusack as The Captain

Bradbury’s classic novel starts out very twisted and creepy, and gets more twisted. It describes a world where a fireman’s job is not to put fires out, but to set them—on anything considered antisocial, including books and people who read them. Where a normal fireman loves fire, and despises the people he burns. I think it’s only right to point out differences between the novel an the movie.

OK so it wasn’t a high-budget flick. OK so it’s the ’60s and maybe what looked like scary uniforms then already looked dated, cute and silly by the ’70s, when I first saw this. But really, they lost it here.

The novel opens with people being burned alive. Perhaps this was too much for the time. But flopping a few dozen paperbacks on a steel frame and lighting them on fire before some dour onlookers does nothing to set the novel’s stage of gleeful violence. In the novel, it is normal to do horrible things; nobody remembers any other way. The movie misses this, and replaces it with a police-state motif, and I think, strains to portray instead of the “what’s wrong with this picture” world of Bradbury with a colorful, “hip” science fiction flick.

The biggest disappointment though is the “Mechanical Hound”. The description in the novel is just terrifying, first in the reversal of the usually nice cuddly idea of a dog, with that of a huge, fast, furious, lethal mechanical spider, of some malevolent intelligence, whose function is assassination—an instrument of social control. The Hound prop in the movie is small, slow, clumsy and almost cute. Such a thing would be an interesting study for modern CGI, but maybe it was beyond the technology of the time.

Now, the novel is terrifying enough without the Hounds—they’re just one more manifestation of a morally inverted society. It might have been possible to portray the society without them. But to leave this silly prop in the movie, they abandoned the terror and twist of the book.

The movie is of interest only to those interested in ’60s period pieces, Truffaut’s failures, or questions like why Julie Christie was cast for two different parts in this one movie. My recommendation: read the book.

Fantastic Voyage


+ shrinking people for medicine

The Island of Terror
"Insel des Schreckens"

1966 Planet Film Productions

−− awful so awful. a particularly poor monster movie.

Director Terence Fisher
Producer Tom Blakeley
Story and screenplay by Edward Andrew Mann,
Allan Ramsey
FX by John St.John Earl,
Michael Albrechtson
Peter Cushing as Dr. Brian Stanley
Edward Judd as Dr. David West
Carole Gray as Toni Merrill
Eddie Byrne as Dr. Landers
Sam Kydd as Constable Harris
Niall MacGinnis as Mr. Campbell

This is really a horror movie, more than a sci-fi. Maybe it shouldn’t be here.

A cure for cancer goes horribly wrong, producing silicon-based monsters that suck out the bones of their victims.

The monsters are just silly. They look a lot like vacuum-cleaners, and move really slowly. I thought they were dumb when I was a kid, and I still think they’re dumb. The actors have to really strain to hold the monster’s tentacles to their necks!

One of the monsters wraps its tentacle around Cushing’s hand. Judd runs to get an axe, surveys the situation, and whacks Cushing’s hand off. (It seemed to be the reasonable thing to do at the time!)

The doctor proposes giving a sedative to first victim’s widow, before she has been informed of the death. All the ladies get sedatives eventually. P. Cushing declines sedatives after having his hand chopped off.

Don’t mess with Mother Nature
Women are better off sedated; real men don’t take sedatives

Day of the Triffids

1962 Security Pictures Ltd.

OK space infestation apocalypse drama.

ProducerGeorge Pitcher
exec Producer
Philip Yordan
DirectorSteve Sekely
Story from novel byJohn Wyndham
Howard Keel as Bill Masen
Nicole Maurey as Christine Durrant
Janina Faye as Susan
Janette Scott as Karen Goodwin
Kleron Moore as Tom Goodwin

Unprecedented shower of meteors, which sound like sci-fi effects, and look unlike meteors. Their glare blinds everybody in England, except those who were blindfolded for medical reasons. One brings to Earth a fast-growing, plant, which, amazingly conveniently for the pant, finds itself in a botanical garden. The plant moves (slowly), emits a clucking sound, stings people to death, reproduces by windblown spores, has no central nervous system, not killed by dismemberment.

The first disaster is the mass blindness, which causes various crashes and other fatal accidents. But shortly the triffids are everywhere.

English-speaking protagonists travel from Britain, through France, and to Spain.

The biologist couple resolve their personal problems by resolving to study the triffids scientifically.

“Mankind survives, and once again, had reason to give thanks.”

Quartermass and the Pit


OK interesting idea, scary monster

Mission Stardust
a.k.a. …4…3…2…1…Morte
a.k.a. Perry Rhodan – SOS aus dem Weltall
a.k.a. Órbita Morta

1967 P.E.A. Cinematografica
Tefi-Filmproduktion Ernst Ritter von Theumer
Attor-Film S.A.

−− only if you’re into serious schlock

Director Primo Zeglio
Story byClark Darlton,
Karlheinz Scheer
ComposerAnton Abril
SongwriterMarcello Giombini
SingerEdda Dell’Orso
Lang Jeffries as Maj. Perry Rhodan
Luis Dávila as Captain Mike Bull
Essy Persson as Thora
Pinkas Braun as Arkin
Stefano Sibaldi as Dr. Frank Haggard

Based on the Perry Rhodan sci-fi booklet series popular (still) in Germany, is a sci-fi/action/adventure.

An Italian, German production.

Production quality is spotty. The script is dumb; the actors do what they can with it. Lots of elaborate sets, but spaceship models mostly dangle from strings. Most of the music is standard late-60s fare, but some of the vocals are pretty interesting…

Rhodan is a NASA pilot in this movie.

Space rocket Stardust in gantry appears to be a U.S. Atlas missile, in space depicted with a combination of models and cellophane. Rocket staging is depicted, but the rocket exhaust pretty cheesy. I like how the rocket turns around to land—they almost achieve a sort of majesty.

About the flight, the government is “keeping real reason truly secret”. (Oh…they found some fancy metal they wanted to mine—doesn’t appear again in the movie.)

Elaborate lunar scenes: goofy lunar car has interesting metal wheels.

Alien craft: cool outerworldly spacecraft, supposed to be very big, but the scale is totally unconvincing. In flight, the models are obviously dangling on a string.

Some talk about going faster than light.

Alien robots look like suited astronauts with a screwed up face, they shoot lasers from the eye, which makes stuff disintegrate. (Both are very poorly executed conventional effects.)

In all cases, people draw weapons on sight, and usually fire.

Aliens are from Arkon, 35 million light-years away. They look like humans; one of them is gorgeous, and promptly announces her intention to procreate, and disrobes suggestively by way of emphasis. They are pronounced “medically-speaking identical, but genetically older” than humans, and “degenerate”.

“Gravitational neutralizer” can levitate things. “Highly-active field of energy” used as a shield.

The astronauts and aliens discuss keeping the alien’s existence a secret for the protection of humanity, but almost immediately blow their cover. The alien gets annoyed, melts a mountain or something with some sort of ray—just to prove that one ought not to mess with them.

There’s a mish-mash of bad guys, and it becomes a who’s gonna betray whom. The battle finale involves bad blondes with machine guns.

Depicts multi-racial engineers, and also black officials.

The aliens are old and decrepit.
Except the girl aliens who are here to snap up our intrepid heroes.
Shoot first, unless it’s determined to be futile, then shoot some more.
Don’ trus’ nobody!

Planet of the Apes

1968 APJAC Productions

+ space and time travel; alternative speciation

Director Franklin J. Schaffner
Producer Arthur P. Jacobs
Screenplay Michael Wilson
Rod Serling
Based on Pierre Boulle’s
La planète des singes
Charlton Heston as Taylor
Linda Harrison as Nova
Kim Hunter as Zira
Roddy McDowall as Cornelius
Maurice Evans as Dr. Zaius
Wright King as Galen
James Whitmore president of the Assembly

Date: 1972 (launch), 3978 (arrival)

Vehicle: 3-man orbital vehicle, near light-speed

It’s a sequence of improbabilities probably impossible. It has to do with science beyond the premise, and it’s pretty good fun.

The boys take of for a routine space flight. They go near light speed, and there’s some malfunction, and they crash on an Earth-like planet. That’s the end of the space adventure aspect. But here, great apes (gorillas, chimpanzees, and orangutans) are in charge, and humans are mute and degraded. It’s basically a role-reversal.

The social message is that the apes, as brutal as they are to humans, have managed to live a long time in peace.

They had a lot of fun with the premise, throwing in little jokes into the action where they can. And it ends with the famous surprise.

This was the first of the franchise.

“Take your stinking paws off me, you damned dirty ape!”

2001: A Space Odyssey

1968 MGM

++ A pinnacle of sci-fi and movie making.

Production, direction, screenplay Stanley Kubrick
From short stories byArthur C. Clarke
Cinematography Geoffrey Unsworth
Keir Dullea as Dr. David Bowman
Gary Lockwood as Dr. Frank Poole
William Sylvester as Dr. Heywood Floyd
Douglas Rain voice of HAL 9000

Clarke is the big idea guy of sci-fi of the ’50s and ’60s, one of very few sci-fi authors who is a real scientist.

Nobody before or since has depicted space flight this faithfully. For a movie showing no blood, and having no monsters, this is very eerie.

The computer, HAL 9000, is the most memorable character, and he’s real scary. Watching the movie again recently, he still gives me goosebumps.

Vehicles: various beautiful space ships, including

Aliens: Well. This is tough. The aliens are represented by black “monoliths”, once on Earth, once on the Moon, and once orbiting Jupiter. But what exactly the “monoliths” are… is completely unexplained in the movie, only they have something to do with aliens, and they’re up to something big.

Gadgets: astronauts are shown carrying something like modern tablet computers.

This movie showcases several of Clarke’s signature ideas, including:

Other sci-fi: proto-humans, suspended animation.

For all its beauty and surprise and grandeur, it’s frustrating to watch. It’s flawed by rather stilted dialog, but worse, by unexplained psychedelia near the end (it could easily have been clarified, just with a single quick scene; Kubrick evidently thought it would be better not to.)

I think this movie set an unattainable standard for space movies for decades to come, and is part of the explanation for the gap in space movies in the ’70s and ’80s.

“Any sufficiently advanced technology is indistinguishable from magic.”
—Arthur C. Clarke

The Green Slime

1968 MGM

−− space horror

Directed Kinji Fukasaku
Produced Walter Manley,
Ivan Reiner
Story by Ivan Reiner
Cinematography Yoshikazu Yamasawa
Robert Horton as Cmdr. Jack Rankin
Richard Jaeckel as Cmdr. Vince Elliott
Luciana Paluzzi as Dr. Lisa Benson

An uncharacteristically ambitious Japanese attempt at a space movie, fatally sabotaged by an utterly stupid guy-in-a-monster-suit. It's weird that they would spend so much time and effort on the rest of the movie, and resort to a cheap guy-in-a-monster-suit, for the central element of the story. They attempt to heighten the scariness of the monster by zooming the camera in and out. The result is that it resembles contemporary children's TV shows. Something was severely wrong with the production.

Had it been released a couple years before, sans the stupid monster suit, the space scenes would have been impressive. But even if the monster were somehow improved, and even if a vastly better space movie hadn't come out the same year, we would be left with a very poor script. This is another example of how even with some money, and a couple of better production elements, a movie can still be laughable garbage.

Why even mention this movie here? First, I remember seeing ads for it when I was a kid, and wished that I got to see such scary movies. And you know, it does have some fair space content. And maybe I want to balance the better movies in the list with examples of how bad even higher-budget movies can be.

You can get a laugh or two out of it, before your thoughts turn to popcorn or that pizza guy who still hasn't arrived.


Lennauchfil’m 1968

+ Composed of several vignettes, part educational science movie, part science-fiction fantasy.

Author and director п. клушанцев (Pavel Klushantsev)
Composer S. Pozhlakov

Begins with re-enactments of the observations of the astronomers Shiaparelli and Lowell.

Discusses the vast popular literature and movie about Mars, H. G. Wells, Aelita.

Much use of animations, stop-action, and other special effects, as well as movie of real scientific research.

Animations illustrate facts of Mars’ atmosphere and temperature. Lots of discussion about extreme Earth organisms that might survive on Mars. Discusses of nature of canals of Mars, contemporary soviet and U.S. space probes of, how they work, what they are meant to investigate.

Beautiful, elaborate, fanciful and amusing scenes of possible Martian life.

Dog-astronaut in space suit, space ships in orbit of mars, and Martian colonies. (These last vignettes contain not only speculative science themes, but something bordering on the dramatic, so they fit my qualification as sci-fi.)


1968 Dino de Laurentiis Cinematografica (Italy)
Marianne Productions (France)

− Period-piece sex farce

Writer and director Roger Vadim
Producer Dino de Laurentiis
Based onJean-Claude Forest’s
comic series Barbarella
Jane Fonda as Barbarella
Ugo Tognazzi as Mark Hand
John Phillip Law as Pygar
Marcel Marceau as Professor Ping
David Hemmings as Dildano
Anita Pallenberg as the Black Queen of Sogo

Not always intentionally funny; some curious nudity, manages to be sort of sexy despite being terribly silly.

The Illustrated Man