The movie is about "finite nonlinears," robots that closely resemble human beings but are even more perfect than humans. They are intended to eventually replace human beings in space ... See full summary »
Hank and Frannie don't seem to be able to live together anymore. After a five-year relationship, lustful and dreamy Fanny leaves down-to-earth Hank on the anniversary of their relationship.... See full summary »
Battle Beyond the Sun is the English-dubbed and re-edited U.S. version of Nebo Zovyot, a 1959 Soviet science fiction film directed by Mikhail Karyukov and Aleksandr Kozyr. It tells of the "space race" of two future nations competing to become the first to land a spacecraft on the planet Mars.
The credit on the U.S. version of the film, "Battle Beyond the Sun", was given to 'Thomas Colchart', a pseudonym for then aspiring filmmaker Francis Ford Coppola. Roger Corman gave him the task of creating two monsters resembling genitalia (one male, one female) which were amusingly spliced into the film. See more »
In the re-edited U.S. version under the title "Battle Beyond the Sun" the same dolly shot of women waving is used twice. The first is when the rocket is landing back on Earth. Only minutes later, when the cosmonauts have left the rocket, the exact same shot is used again. See more »
Released (by Roger Corman) in the USA as "Battle Beyond the Sun". This version was recut and also added new footage directed by a young Francis Ford Coppola. In this version, of course, all Soviet propaganda has been dropped. See more »
Like most soviet films of the period (and I watched the original version), in has no action whatsoever. The plot is stilted as statues at the People's Economy Achievements Exhibition in Moscow, and the story drags its feet to no end. It is a typical tableau vivant aimed at kicking imperialist America one more time, and at showing Russians (but mostly Ukrainians, as the film was done at the infamous Dovzhenko Studios, legendary for its spectacularly bad productions) at their best and foremost.
However, this propaganda poster about how Soviets and Americans tried to prove to each other whose penis extender—pardon me, phallic symbol—is better, racing each other to Mars, of all places, is nicely illustrated with analog FX. The music is abominable, and is in place only in the scene of "space madness" of the one "bad American" they let out into space. The dialogue is absurdist and as ridiculous as the gadgetry shown. More than anything else, it reminds me of the old Chapayev joke: —Pet'ka, the apparatus. —Six, Vasily Ivanovich. —Six what? —Apparatus what? In some sense, it's just as silly as Gravity. Look how much time passed, and what has changed?
Nevertheless, content-wise, the film's narrow-minded positivism and typical soviet jingoism is set off by one truly Pynchonian twist, and you can appreciate it if you read Gravity's Rainbow. The film has its own Gottfried, and there is the Gottfried glorious moment there. A-and Gottfried's name in the film is Grigory.
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