Destino à Lua

Destination Moon was our conception in the middle of the last century as to what our first hesitant steps would be towards getting to the Moon. What I was amazed to see was just how accurate they got it in terms of reality.

Four men, John Archer, Warner Anderson, Tom Powers and Dick Wesson are the chosen astronauts though that term had not come into usage at the time. When you think of the selection process for astronauts that was to come with the formation of NASA this part of the film seems almost a bit silly. Dick Wesson who provides the comic relief is a communications specialist who gets to go at the last minute because the chosen traveler gets appendicitis.

The best part of the film was the space walk, when they have to do some needed repairs to the ship. Robert Heinlein who wrote Destination Moon was very accurate with that and with the dangers of performing that task when needed.

As for the very harrowing trip home, the plot was eerily accurate in terms of what happened to some astronauts for real in the early Seventies. I really do marvel at how Robert Heinlein got so much of it right.

Without any weird alien monsters, Destination Moon still manages to be thoroughly entertaining and incredibly perceptive. The film won an Oscar for Special Effects no mean achievement since it's only competition was Cecil B. DeMille's big budget Samson and Delilah. It also was nominated for Best Art&Set Direction, but in this case it lost to Samson and Delilah.

When you beat out a DeMille film from Paramount with all the money that studio could throw behind a campaign, you know it has to be good. Even now the Special Effects aren't bad by today's standards.

Science fiction gets the deluxe treatment for the first time in history (except for `Things to Come' and `Metropolis'). This is a big-budget, technicolor production from producer George Pal and director Irving Pichel, with Leith Stevens music (`When Worlds Collide', `War of the Worlds' , others), Chesley Bonestell matt paintings, and Oscar-winning special effects supervised by Lee Zavitz. Stop motion animation scenes of the astronauts walking on the hull of the ship were directed by John S. Abbott. The fine script was penned by Rip Van Ronkel, James O'Hanlon, and veteran sci-fi author Robert Heinlein.

The cast includes John Archer as the millionaire industrialist, Warner Anderson as the designer of the rocket, Dick Wessson as the wise-cracking radio operator, and Tom Powers as the visionary general. (Note: this is not the same Tom Powers who stars in `Unidentified Flying Objects' in 1956).

Although many reviewers connect `Destination Moon' with Heinlein's novel `Rocketship Galileo', the film's story has much more in common with Heinlein's novelette `The Man Who Sold the Moon', also published in 1950. The novelette, like the film, spotlights private industry as the sponsor of the Moon trip. John Archer's industrialist is an eerie parallel to Howard Hughes, whose company actually did build the Apollo space crafts!

Heinlein actually published a THIRD Moon-trip story in 1950, a novelette featured in the September issue of `Short Stories Magazine' under the title `Destination Moon'. This version is so similar to the film, it was probably intended as a promotional piece, but it does include one fascinating story element not in the film. The explorers find evidence of previous lunar visitors -- either Russians or aliens, they aren't sure which!

While planning the famous E.V.A . rescue scene (in which an oxygen bottle is used as a makeshift propulsion unit) the film makers considered using a shotgun as the means by which John Archer retrieves Warner Anderson when he drifts away from the rocket in space. Thankfully they changed their minds; a shotgun seems like an inappropriate piece of equipment to take to a lifeless, airless satellite. However, the shotgun concept was used in the final film during Woody Woodpecker's cartoon demonstration of rocket propulsion, which is shown to the millionaire industrialists who finance the Moon trip.

Chesley Bonestell, famed artist of the celestial realm, provided matt paintings and designed the lunar surface (which had not been photographed up close at that time, so the film makers had to make some guesses).

Art director Ernst Fegte added the fractured lava bed feature which resembled a cracked lake bottom. The cracks diminish in scale as they recede from the camera, creating a forced perspective which enhanced the depth of the set.

This blend of technical accuracy and artistic excellence is the key to the success of `Destination Moon'. No wonder it almost single-handedly started the 1950s sci-fi craze of the 1950s. The film has a strong flavor of `The Right Stuff' (brave men doing a tough job). If you appreciated stories which portray heroism and the nobility of the human spirit, `Destination Moon' is your kind of movie.

I almost did not bother to see this movie that was on AMC yesterday as I expected another 1950's black and white "B" movie that would just take up another 90 min. of my time. Boy, was I wrong! This movie was terriffic. Not only was it in color but it was not a silly movie. It was very factual and some scenes were actually very thrilling. It was not an Appollo 13 but for it's time it could have been. Too bad there weren't more movies of this caliber in the fifties. If you havn't see it already, you deserve yourself a treat.

I can go for quite a while listing the movie's weaknesses-script, actors, et cetera. But with an idea by Robert Heinlein, Chesley Bonestell handling the astronomical artwork, George Pal as producer and a special bit of animation by Walter Lantz starring Woody Woodpecker done just for the movie, what else matters? Anyone who recognizes all those names and appreciates them understands just what I mean. Since everyone coming here is likely to know Pal and Woody, I won't say any more. For the rest, gather round my children and attend.

Rober Heinlein was the dean of Science Fiction writers. He spun off enough ideas as throwaways to do another writer proud for two careers! As for Chesley Bonestell, quite simply, he was the greatest artist ever when it came to astronomic art. Paintings he did look so real, you'd swear that they were photographs and so accurate that you'd swear he'd been there. Not only did he have no equal, he lapped the field two or three times over. If I ever strike it rich, the first extravagance would be a Bonestell. Genius strikes rarely. Greatness with only somewhat more frequency. This film, flawed in many ways, is shadowed by greatness and touched by at least one genius.

More historical curiosity than entertaining science fiction film, "Destination Moon" is a must see for those interested in the evolution of the genre and the political climate of the early cold war years. Don't expect any cheap thrills or exploitation elements. There are no aliens, no monsters, and no hot women. Instead it presents a detailed speculation of what they thought it would be like to go to the moon in a rocket-ship. Despite looking like a massive version of a Von Braun rocket from WWII, the speculation about the problems faced by the engineers and crew of such a product are surprisingly accurate and must have been fascinating viewing back in 1950. Both the rocket and the moon are considerably more realistic than the old "Flash Gordon" stuff.

Like another science fiction classic "Them", "Destination Moon" is loaded with political references conveying a not so subtle distrust of the federal government. But the two films convey the same message from polar opposite perspectives. "Them" placed the blame for its giant mutations on reckless atomic bomb testing and portrayed the federal response to the crisis as clueless until assisted by local law enforcement and an eccentric university scientist. "Destination Moon" has a hawkish perspective, with unidentified fifth columnists sabotaging America's early space program. Fortunately, selfless patriotic industrialists come to the rescue and finance a successful private enterprise program to claim the moon for the United States.

The deliberately low-key documentary style is relieved by the last minute addition of space novice Joe Sweeney (Dick Wesson) to the crew. With a Brooklyn accent (his first view of earth from space elicits a desire to know who is pitching for the Dodgers that day) Sweeney provides both comic relief and an excuse for the expect members of the crew to expound in layman's terms about the details of space travel. I couldn't help thinking of "Dark Star's" Sgt. Pinback whenever Sweeney began to whine about not belonging on the mission.

Another concession to the unsophisticated 1950's audience has the project leaders making their pitch for financing through a special Woody Woodpecker space training film. The skeptical fowl and his two audiences receive their indoctrination at the same time. "Destination Moon" must have infused the nation with a sense of wonder and faith in what the free enterprise system could achieve because it is actually listed as an event in NASA's chronology of the history of space travel. It is likely that the producers were more successful with this upbeat message than with their attempt to spread fear and promote a space race. Although considerable effort is made to sell the audience on the military value of the moon nothing very convincing is presented in that regard. Ironically, much of the actual space race a few years later would have a military purpose.

"Destination Moon" has two moments of suspense. The first is when Charles Cargraves (played by Warner Anderson) exits the ship in space and drifts away once his magnetic boots lose contact with the ship. Since Cargraves is the ship's designer, it seems rather implausible that he should forget this but no more so than his constructing the ship out of heavy steel. The second is when they botch the landing and must lighten the ship to have enough fuel to return to earth (of course we 21st century viewers knew the thing was too heavy as soon as we learned about the magnetic boot thing).

Science fiction writer Robert A. Heinlein teamed with producer George Pal to put "Destination Moon" into production. They soon learned that Kurt Neumann was working to release "Rocketship X-M" in time to benefit from their publicity campaign. For legal reasons Neumann modified his more sensational film to feature a landing on Mars rather than on the moon. Although Neumann's paid less attention to scientific details, it turned out to be more accurate in the use of a two-stage rocket and not the one-stage monster featured in the Heinlein/Pal version. Both films were subject to staggering naiveté about the complexity of space travel. Although the film's version of the moon surface is hauntingly beautiful (thanks to Chesley Bonestell's backdrop paintings) it looks more like a dried lake-bed than the actual lunar surface.

In retrospect, "Destination Moon's" most unique sci-fi genre feature is the absolute refusal of its producers to show anything that deviated from what they believed at the time to be the truth about space travel. Although today it is a struggle to really appreciate the film, at least as it would have hit viewers in 1950, how many science fiction films have been criticized as being too real to be entertaining.

Then again, what do I know? I'm only a child.