When Adams and his crew are sent to investigate the silence from a planet inhabited by scientists, he finds all but two have died. Dr. Morbius and his daughter Altaira have somehow survived a hideous monster which roams the planet. Unknown to Adams, Morbius has made a discovery, and has no intention of sharing it (or his daughter!) with anyone.Written by
David Rose, composer of light orchestral music such as "Holiday For Strings", was originally hired to write the score. He was relieved of his contract by producer Dore Schary in December 1955 when Schary discovered avant-garde electronic music creators Louis Barron and Bebe Barron in a nightclub in Greenwich Village, New York, and hired them on the spot. The only confirmed piece of music which still remains from Rose's discarded original score is his Main Title Theme, which he released as a single on MGM Records in 1956. See more »
Just before they land, Adams impatiently flips off the radio as Morbius is in the middle of the word "recommend". Morbius should have been cut off immediately and in mid-word. But we hear him say the full word "recommend" even after Adams has shut the radio off. See more »
If you like Star Wars/Trek, come see where they got all their ideas and cinematic devices. It's my top 2 favorite movies of all times, other-worldly-futuristic and psycho-thriller. The intensity of the root material (Shakespeare's "The Tempest") is not overshadowed by whizbang gimmickry (a la later Lucas). And just because it was made in 1956, don't assume you can 'see the strings' holding the flying saucer up. This was the first movie where you COULDN'T. Miracle it was made at "A-movie" scale, economics and tastes at the time were stacked heavily against it. And director Wilcox's previous 'hit' was "Lassie Come Home". Until I looked him up, I assumed 'Fred Wilcox' was a pseudonym for a director who was already or later became famous, but at the time didn't want to be associated with sci-fi, which was strictly a "B" genre back then. This was either a very VERY visionary production, or a very fortuitous 'mistake' on the part of the folks who bankroll Hollywood.
There are the massive-scale mattes with live action almost microscopically inserted that Lucas used extensively. There are intelligent machines that transcend the stereotypical 'user interface'; "computers", as they've come to be portrayed much less futuristically in later works. Star Trek's 'transporter' is there, visually, almost unaltered by Roddenberry 10 years later. And if the Trek/Wars technobabble turns you off, FP's scientific references are not overdone and are all accurate, even today. The "ship" set is comprehensive, sparklingly realistic, as good as anything you've seen since, and more convincing than anything 'Trek' has done, for TV or film. We didn't get to spend as much time there as I would have liked.
If you ever wondered how movies got into space so competently, watching FP will explain all that. It's definitely not 'Wagontrain to the Stars'.
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