Destination Moon (film)
|Directed by||Irving Pichel|
|Produced by||George Pal|
|Screenplay by||James O'Hanlon
Robert A. Heinlein
Rip Van Ronkel
|Based on||the novel Rocketship Galileo
by Robert A. Heinlein
|Music by||Leith Stevens|
|Edited by||Duke Goldstone|
George Pal Productions
|Distributed by||Eagle-Lion Classics Inc.|
Destination Moon (aka Operation Moon) is a 1950 American Technicolor science fiction film independently produced by George Pal, directed by Irving Pichel, and starring John Archer, Warner Anderson, Tom Powers, and Dick Wesson. The film was distributed in the United States and UK by Eagle-Lion Classics.
With Destination Moon, George Pal produced the first major U. S. science fiction film to deal with the dangers inherent in human space travel and the possible difficulties of America's first lunar mission landing on and safely returning from our only satellite.
The film's premise is that U. S. private industry will mobilize, finance, and manufacture the first spacecraft to the Moon, while making the assumption that the U. S. government will then be forced to purchase or lease this new technology to remain the dominant power in space and on the Moon. Industrialists are shown cooperating to support the private venture. In the preultimate scene, as the crew approaches the Earth, the traditional "The End" title card heralds the dawn of the coming Space Age: "This is THE END...of the Beginning".
When their latest rocket test fails and government funding collapses, rocket scientist Dr. Charles Cargraves (Warner Anderson) and space enthusiast General Thayer (Tom Powers) enlist the aid of aircraft magnate Jim Barnes (John Archer). With the necessary millions raised privately from a group of patriotic U. S. industrialists, Cargraves, Warner, and Barnes build an advanced single-stage-to-orbit atomic powered spaceship, named Luna, at their desert manufacturing and launch facility; the project is soon threatened by a ginned-up public uproar over "radiation safety". The three idealists circumvent legal efforts to stop their expedition by simply launching the world's first Moon mission well ahead of schedule; as a result, they must quickly substitute Joe Sweeney (Dick Wesson) as their expedition's radar and radio operator.
On their way to Moon, they are forced to go outside Luna in zero gravity, wearing magnetic boots to stay on the hull, in order to free a frozen piloting radar antenna greased-up by the inexperienced Sweeney hours before the launch. In the process they carelessly lose one of the crew overboard, untethered in free fall. He is cleverly retrieved by using the nozzle of a large oxygen cylinder as an improvised rocket motor. After achieving orbit around the Moon, the crew begins the complex landing procedure, using too much fuel during the Luna 's descent phase.
Safely on the Moon, they explore the lunar surface, reporting back by radio how their view of the Earth looks contrasted against the black lunar sky; one crew member photographs another pretending to hold up the Earth like a modern Atlas. The story takes a serious turn when they calculate the mass needed to lighten their spaceship in the Moon's one-sixth gravity in order to get home safely with their remaining fuel. No matter how much non-critical equipment they remove and leave on the lunar surface, the hard numbers radioed from Earth continue to point to one conclusion: Someone will have to stay behind on the Moon if the other three crew are to return safely to Earth. With time running out for their return launch window, the crew engineers their way home. They first jettison the ship's heavy radio equipment, losing contact with Earth, and finally their sole remaining space suit. The suit's air tanks and space helmet are used as tethered, suspended weights to pull the space suit outside through the open airlock, which is then remotely closed and resealed. Their critical take-off weight finally achieved, and with all her crew safely aboard, Luna blasts off from the Moon for home.
Pal commissioned an initial screenplay from screenwriters James O'Hanlon and Rip Van Ronkel, but science fiction writer Robert A. Heinlein contributed significantly to Destination Moon's final screenplay, also serving as the film's technical adviser. Certain story elements from his 1947 juvenile novel Rocket Ship Galileo were adapted for use in the film's final screenplay. Heinlein also published a tie-in novella, Destination Moon, based on the screenplay. The film's storyline also resembles portions of Heinlein's novel The Man Who Sold the Moon, which he wrote in 1949 but did not publish until 1951, a year after the Pal film opened.
Destination Moon 's matte paintings, used for the departure of the Luna from Earth, its approach to the Moon, the spaceship's landing on its surface, and showing the panoramic Lunar landscape, are by noted astronomical artist Chesley Bonestell.
Irving Pichel was selected to direct the film, his 30th since 1932. Pichel began his Hollywood career as an actor during the 1920s and early 1930s, in such films as Dracula's Daughter and The Story of Temple Drake. Pichel had been blacklisted after he was subpoenaed by the House Un-American Activities Committee in 1947, despite having never been called to testify before HUAAC. He would go on to direct only five more films after Destination Moon before his death in 1954.
Cartoon character Woody Woodpecker's creator Walter Lantz and producer George Pal had been close friends ever since Pal left Europe and arrived in Hollywood. As a result, out of friendship and good luck, Pal always tried to include Woody in all his film productions. (On the commentary track of the Special Collector's DVD Edition of George Pal's 1953 science fiction film War of the Worlds, actors Ann Robinson and Gene Barry point out that Woody can be seen in a tree top, center screen, near the beginning of the film.) George Pal incorporates Woody in Destination Moon as a vital part of its unfolding storyline.
In a cartoon shown "within" the film, Woody explains the scientific principles behind space travel and then a trip to the Moon.This engaging cartoon is shown to a gathering of U. S. industrialists, who it is hoped will patriotically finance such a daring venture before an (unnamed) non-western power can do so successfully. The Woody cartoon actually serves the purpose of explaining, in layman's terms, to the average 1950 moviegoing audience, the practical details of a manned space expedition to the Moon and how it might be accomplished.
The soundtrack music, written by composer Leith Stevens, is noteworthy for its atmospheric themes and musical motifs, all of which add subtle but important detail and emotion to the various dramatic moments in the film. The Stevens Destination Moon film score had its first U. S. release in 1950 on a 10-inch 78 rpm Monaural LP by Columbia Records (#CL 6151):
|1.||"Earth: Prelude"||Leith Stevens||02:50|
|2.||"Earth: Planning and Building of the Great Rocket"||Stevens||05:03|
|3.||"In Outer Space"||Stevens||06:53|
|1.||"On the Surface of the Moon: The Crater Harpalus"||Stevens||04:10|
|2.||"On the Surface of the Moon: Exploring the Moon"||Stevens||01:58|
|3.||"On the Surface of the Moon: The Dilemma"||Stevens||02:40|
|4.||"On the Surface of the Moon: Escape from the Moon and Finale"||Stevens||03:11|
Later in the 1950s, the score was re-released on a 12-inch high-fidelity mono LP by Omega Disk (#1003). Omega Disk re-released it in 1960 as a stereophonic 33 1/3 LP (#OSL-3). In 1980, the score was re-released on stereo LP by Varise Sarabande (#STV 81130) and again in 1995 on stereo LP by Citadel Records (#STC 77101). An expanded and complete 56.32 minute version of Steven's original film score, limited to 1,000 copies, was released on CD in 2012 by Monstrous Movie Music (#MMM-1967); also on the CD is Clarence Wheeler's incidental music used for the film's Woody Woodpecker cartoon. An illustrated 20-page booklet of liner notes is also included.
Despite its half-a-million dollar budget and a large national print media and radio publicity campaign preceding its delayed release, Destination Moon ultimately became the "second" space adventure film of the post-World War II era. Piggybacking on the growing publicity and expectation surrounding the Pal film, Lippert Pictures' small budget ($94,000) and quickly shot (18 days) Rocketship X-M, about the first spaceship to land on distant Mars, opened in movie theaters 25 days before the Pal feature.
Bosley Crowther in his review of Destination Moon for The New York Times, opined, "... we've got to say this for Mr. Pal and his film: they make a lunar expedition a most intriguing and picturesque event. Even the solemn preparations for this unique exploratory trip, though the lesser phase of the adventure, are profoundly impressive to observe."
In a later appraisal in a Time Out review, editor John Pym saw Destination Moon as having both good and bad aspects, "... characteristically thin on plot and characterization, high on patriotism, and impressive in its colour photography and special effects; a true precursor to Star Wars."
Awards and accolades
Destination Moon won the Academy Award for Visual Effects in the name of the effects director, Lee Zavitz. The film was also nominated for the Academy Award for Best Art Direction, by Ernst Fegte and George Sawley.
Retro Hugo Awards: A special 1951 Hugo Award for Best Dramatic Presentation was retroactively awarded by the 59th World Science Fiction Convention 50 years later, in 2001, to Destination Moon for being one of the science fiction films eligible during calendar year 1950. (50 years, 75 years, or 100 years prior is the eligibility requirement governing the awarding of Retro Hugos.)
Episode 12 of the Dimension X radio series was called Destination Moon and was based on Heinlein's final draft of the film's shooting script. During the broadcast on June 24, 1950, the program was interrupted by a news bulletin announcing that North Korea had declared war on South Korea, marking the beginning of the Korean War.
A highly condensed version of the Dimension X Destination Moon radio play was adapted for children by Charles Palmer and was released by Capitol Records, who had become familiar with Capitol's recordings through a Bozo the Clown-approved record series. The series featured 7-inch, 78-rpm recordings and full-color booklets which children could follow as they listened to the stories. The Destination Moon record was narrated was Tom Reddy, and Billy May composed the incidental and background music. The record's storyline took considerable liberties with the film's plot and characters, although the general shape of the film story remained.
In 1950, Fawcett Publications released a 10-cent Destination Moon movie tie-in comic book. DC Comics also published a comic book preview on the Pal film; it was the cover feature of DC's brand new science fiction anthology comic book Strange Adventures # 1 (September 1950).
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