Description

A love triangle brews amidst a growing political tempest in this"brilliantly intellectual" (Los Angeles Times) film in which nothing is quite as it seems. Adapted from the acclaimed novel by Graham Greene, Academy Award-winning writer-director Joseph L. Mankiewicz's screenplay "delivers dialogue that not only sparkles but bites deep with the irony of truth" (Citizen-News). In 1952, Saigon is caught between the corrupt colonial powers and the Communist uprising. An idealistic young American (Audie Murphy) champions a shadowy Third Force, but cynical British journalist Thomas Fowler (Michael Redgrave) is concerned only with the American's interest in his mistress. When jealousy forces Fowler to take sides at last, the personal and political consequences are devastating. ... Read more

Reviews (2)

Worth seeing only as a time-capsule, not as a film
This 1958 film of Graham Greene's novel is interesting today mostly as an historical artifact. It is not a particularly outstanding example of the art of cinema, just a dated melodrama in which the location exteriors in Saigon lead to interior dialogue scenes that are stagy and leaden and obviously take place on unconvincing studio sets. It is admittedly fascinating to see some of the exact same Saigon locations that were used in the 2002 film, and Michael Redgrave does bring a weight and soul to the role of Fowler.

Sadly, however, the film brutalizes his character. Where Greene's novel was about a world-weary Brit, confronted with a blindly idealistic American willing to sacrifice innocent lives in the name of his goals, the film inverts everything. Pyle is a virtual saint and Fowler merely the gullible old man who plays a part in Pyle's downfall not out of a desire to protect the innocent, but simply to rid himself of a romantic rival. It is not difficult to see why Graham Greene was incensed by the film and disowned it.

Fascinatingly, director/screenwriter Joe Mankiewicz manages to make this total change largely by the addition of one scene at the end. His film basically follows Greene's novel, up until an atrocious final scene in which we learn that Fowler has been hoodwinked all along by the Communists, and has destroyed a noble American who was genuinely bringing freedom and hope to Indochina. A prescient warning about America's doomed involvement in Vietnam becomes a piece of jingoistic propaganda to support the war.

The 2002 film, in comparison, is amazingly faithful to the novel. I don't always hold that as the measure of a film's success, but with a master storyteller like Greene, why mess with perfection. Do not choose this film if you want accomplished filmmaking, or an accurate interpretation of Graham Greene's intentions, for that pick up Phillip Noyce's 2002 film. Watch this only afterwards, to see how a few small changes can undermine an entire narrative.

Propaganda
Graham Greene might not be happy about this movie being released on DVD but at least people can see for themselves the "treachery" of Mankeiwicz, Lansdale, and the rest of the band of propaganda crims!

Read "The Quiet American" text and criticism by J C Pratt - gives you the inside story of how the movie was changed from GG's book to sell the hot war in Vietnam.

Then see the remake to get the true message - America stay out of Vietnam!

Too late for the poor people of Indochina. ... Read more

Amazon.com

In a utopian future of universal peace and brotherhood--1985 to bespecific--a mysterious artifact found in Siberia is discovered to be amessage from Venus. While the recording is studied, an international team ofscientists is rocketed off to make contact with the mysterious planet. Ittakes the film some time to get going (worldwide harmony makes for abeautiful future but pallid drama when everyone gets along so nicely), butthings begin to cook once they land on the misty wasteland of Venus. Swarms ofmetal bugs hop from glassy mutant trees and bubbling black mudoozes after our astronaut heroes, but no Venusians can be found amidst thegeodesic architecture and buzzing power plants. What they discover insteadis a terrifying conspiracy wrapped in an anti-war parable. Based on a novel byPolish science fiction legend Stanislaw Lem (whose work also inspiredAndrei Tarkovsky's Solaris), this German science fiction adventureis a visual treat, from the sleek, grand, silver spaceship and a funkypurple Venus landscape of alien ruins and crystalline bubbles. Decently(if prosaically) dubbed and trimmed down to a brisk 78 minutes, it's anentertaining triumph of psychedelic art direction and desolate alienweirdness presented in all its brightly colored, widescreen glory. --SeanAxmaker ... Read more

Reviews (25)

Finally, a widescreen version
I bet I've watched this movie 20 times over the last 10 years between my old VHS copy and later Diamond Entertainment DVD version. I can't explain why, but I love this movie. It's the perfect lay in bed and doze-off-to movie. My recommendation: skip the Diamond fullscreen DVD version (which doesn't have any better quality than VHS tape) and go for the Image version. The only advantage the Diamond DVD has is that it's a double feature with "Voyage to the Prehistoric Planet", an almost decent dozer. I won't go into the plot or details since other reviews have. I can only say that this is an entirely enjoyable movie for classic sci-fi fans.

For Classic Sci Fi Lovers
I bought this film based on vague childhood memories of neat movie about a dark and mysterious planet being visited by an international crew from Earth. I was not disappointed. Although its translation into English adds a hokey air and a few chuckles due to some rather clumsy dialog, special effects (not high tech) and a generally good story line make this an interesting and highly entertaining film. If you're a SciFi buff, this film is a must.

You get what you pay for
NOT as described by Amazon or the jacket - not the 130 minute original but the 78 minute dubbed version shown in the UK. The same poor quality picture (resolution 720 x 480) and sound as the 2000 release but much cheaper.
Based on Lem's 1951 first novel The Astronauts the theme is pacifist - compare with the also 1959 "On the Beach".
The fuzzy images on the DVD do not do justice to the excellent camerawork and (for the time) special effects.
At this price worth getting to compare with US films of the period.

Make Mine Venus!
Polish science fiction novelist Stanislaw Lem (born 1922) must take pride in the fact that his "Solaris" (1962) has now been twice filmed, first by Andrei Tarkovsky (1972) and more recently - also less effectively - by an American director whose name escapes me (2003); yet as early as 1960 Lem's first science fiction novel, "The Astronauts" (1952), had already appeared in an adaptation for the silver screen, directed by an East German, Kurt Maetzig. "First Spaceship on Venus" issued, in fact, from a Polish and East German collaboration, with contributions, in the ensemble of players, from three or four "third world" nations. Viewers will recognize Japanese actress Yoko Tani as the sole female crewmember of the space research vessel "Cosmostrator," the titular "First Spaceship" on earth's putative "twin," Venus. This is a mostly superb film, quite magical in its expressionistic special effects. Enticingly for audiences, almost half of the action takes place on Venus amidst sets that do justice to Lem's insistence that alien life will be incomprehensible to humanity. The story, briefly, is this: in 1985 excavations "to irrigate the Gobi Desert" discover extraterrestrial artifacts, one of which, a glassy "spool," contains the last message sent home from a spaceship engaged in reconnoitering the earth. The narration links this fictional incident to the actual 1908 Tunguska meteor impact. The "spool" has sustained damage and yields only a fraction of its contents, but from this bit scientists determine that the visitors originated on Venus, whereupon the "World Space Agency" determines to mount an expedition there. An international crew take command of the "Cosmostrator." The "Cosmostrator" itself demands some attention as one of the most unusual of silver-screen spaceships of the 1950s and 60s: its central silvery cylinder, housing the crew, is surrounded by four similarly hued cylinders of nearly equal dimension housing the engines; the sum of it is a kind of powerful elegance. But the real interest lies in the Venusian scenario itself. Maetzig gives us a shadowy, smoke-and-gas- shrouded landscape full of weird, half-obliterated shapes. One sequence shows the astronauts moving in their "ground cars" through what appears to be a street of melted skyscrapers; there are also huge underground spaces and indecipherable geodesic spheres and cones. The explorers gradually deduce that, on the verge of dousing the earth with radiation preparatory to invading and occupying it, the Venusians destroyed themselves in a fratricidal atomic war. We see the permanently etched shadows of the victims on a blasted wall. In an extremely alien episode, a lake of organic muck chases the terrestrials up the spiral ramp of a half-fused tower, only to retreat mysteriously before catching them fatally at the summit. The visuals elude adequate verbal description. If anyone knew the work of the 1950s and 60s science fiction illustrator Richard Powers, who did paperback covers in a semi-abstract style full of glassy-metallic quasi-biological and quasi-mechanical shapes, that might serve as a good reference. (Samples of Powers' work can be found on-line, should anyone care to go looking.) At the film's finale, in the prototypical Lem-gambit, the Venusians' automated defenses reverse the planet's gravity-field, hurling the "Cosmostrator" back into space, minus two or three unlucky casualties. Despite the Soviet-era utopian bravura, the mission has accomplished but little - the explorers are, in effect, defeated. Between the human and the non-human no genuine communication seems possible, especially where one party has insulated itself behind layers of electronics and automation and is long since a collective suicide. (This story of non-communication comes quite close to the plot of "Solaris," superficial differences notwithstanding - Tarkovsky must surely have known Maetzig's film; he would of course have been familiar with Lem's work beyond "Solaris.") One senses that this English version, with a dubbed soundtrack for American distribution, probably leaves a good many scenes on the cutting-room floor; neither can one tell much about the acting, which, in any case, is of less interest than the strangely realized other world. There is an amusing tracked robot named Omega. The source-print seems well preserved and the format is wide-screen. (A video-tape from a different producer derived from a faded print and cut the image down to television-screen dimensions.) On the strength of the scenic design, this movie should recommend itself to genre aficionados. Anyone who has never seen it is in for a treat.

Pretty cool East-German Sci-Fi
If only I could ever find the original: the dubbed version is just too much. I had to turn the sound off at times. Otherwise it's a sci-fi of surprising quality proving that East Germany has managed some pretty decent films in its 50's and 60's cinematic heyday. I love the genuine PC (not our fake one!) detail: the spaceship crew include an African and a Chinese scientist something unimaginable in Hollywood not only back in its 50's sci-fi schlok era. However, this film is not all peaches and cream: it drags a bit, and at times feels chopped up. I don't know how much of the original was edited out but it feels as if it needs a longer time frame. Overall, fun to watch and compare to other sci-fi films from the same period. ... Read more

Reviews (25)

Finally, a widescreen version
I bet I've watched this movie 20 times over the last 10 years between my old VHS copy and later Diamond Entertainment DVD version. I can't explain why, but I love this movie. It's the perfect lay in bed and doze-off-to movie. My recommendation: skip the Diamond fullscreen DVD version (which doesn't have any better quality than VHS tape) and go for the Image version. The only advantage the Diamond DVD has is that it's a double feature with "Voyage to the Prehistoric Planet", an almost decent dozer. I won't go into the plot or details since other reviews have. I can only say that this is an entirely enjoyable movie for classic sci-fi fans.

For Classic Sci Fi Lovers
I bought this film based on vague childhood memories of neat movie about a dark and mysterious planet being visited by an international crew from Earth. I was not disappointed. Although its translation into English adds a hokey air and a few chuckles due to some rather clumsy dialog, special effects (not high tech) and a generally good story line make this an interesting and highly entertaining film. If you're a SciFi buff, this film is a must.

You get what you pay for
NOT as described by Amazon or the jacket - not the 130 minute original but the 78 minute dubbed version shown in the UK. The same poor quality picture (resolution 720 x 480) and sound as the 2000 release but much cheaper.
Based on Lem's 1951 first novel The Astronauts the theme is pacifist - compare with the also 1959 "On the Beach".
The fuzzy images on the DVD do not do justice to the excellent camerawork and (for the time) special effects.
At this price worth getting to compare with US films of the period.

Make Mine Venus!
Polish science fiction novelist Stanislaw Lem (born 1922) must take pride in the fact that his "Solaris" (1962) has now been twice filmed, first by Andrei Tarkovsky (1972) and more recently - also less effectively - by an American director whose name escapes me (2003); yet as early as 1960 Lem's first science fiction novel, "The Astronauts" (1952), had already appeared in an adaptation for the silver screen, directed by an East German, Kurt Maetzig. "First Spaceship on Venus" issued, in fact, from a Polish and East German collaboration, with contributions, in the ensemble of players, from three or four "third world" nations. Viewers will recognize Japanese actress Yoko Tani as the sole female crewmember of the space research vessel "Cosmostrator," the titular "First Spaceship" on earth's putative "twin," Venus. This is a mostly superb film, quite magical in its expressionistic special effects. Enticingly for audiences, almost half of the action takes place on Venus amidst sets that do justice to Lem's insistence that alien life will be incomprehensible to humanity. The story, briefly, is this: in 1985 excavations "to irrigate the Gobi Desert" discover extraterrestrial artifacts, one of which, a glassy "spool," contains the last message sent home from a spaceship engaged in reconnoitering the earth. The narration links this fictional incident to the actual 1908 Tunguska meteor impact. The "spool" has sustained damage and yields only a fraction of its contents, but from this bit scientists determine that the visitors originated on Venus, whereupon the "World Space Agency" determines to mount an expedition there. An international crew take command of the "Cosmostrator." The "Cosmostrator" itself demands some attention as one of the most unusual of silver-screen spaceships of the 1950s and 60s: its central silvery cylinder, housing the crew, is surrounded by four similarly hued cylinders of nearly equal dimension housing the engines; the sum of it is a kind of powerful elegance. But the real interest lies in the Venusian scenario itself. Maetzig gives us a shadowy, smoke-and-gas- shrouded landscape full of weird, half-obliterated shapes. One sequence shows the astronauts moving in their "ground cars" through what appears to be a street of melted skyscrapers; there are also huge underground spaces and indecipherable geodesic spheres and cones. The explorers gradually deduce that, on the verge of dousing the earth with radiation preparatory to invading and occupying it, the Venusians destroyed themselves in a fratricidal atomic war. We see the permanently etched shadows of the victims on a blasted wall. In an extremely alien episode, a lake of organic muck chases the terrestrials up the spiral ramp of a half-fused tower, only to retreat mysteriously before catching them fatally at the summit. The visuals elude adequate verbal description. If anyone knew the work of the 1950s and 60s science fiction illustrator Richard Powers, who did paperback covers in a semi-abstract style full of glassy-metallic quasi-biological and quasi-mechanical shapes, that might serve as a good reference. (Samples of Powers' work can be found on-line, should anyone care to go looking.) At the film's finale, in the prototypical Lem-gambit, the Venusians' automated defenses reverse the planet's gravity-field, hurling the "Cosmostrator" back into space, minus two or three unlucky casualties. Despite the Soviet-era utopian bravura, the mission has accomplished but little - the explorers are, in effect, defeated. Between the human and the non-human no genuine communication seems possible, especially where one party has insulated itself behind layers of electronics and automation and is long since a collective suicide. (This story of non-communication comes quite close to the plot of "Solaris," superficial differences notwithstanding - Tarkovsky must surely have known Maetzig's film; he would of course have been familiar with Lem's work beyond "Solaris.") One senses that this English version, with a dubbed soundtrack for American distribution, probably leaves a good many scenes on the cutting-room floor; neither can one tell much about the acting, which, in any case, is of less interest than the strangely realized other world. There is an amusing tracked robot named Omega. The source-print seems well preserved and the format is wide-screen. (A video-tape from a different producer derived from a faded print and cut the image down to television-screen dimensions.) On the strength of the scenic design, this movie should recommend itself to genre aficionados. Anyone who has never seen it is in for a treat.

Pretty cool East-German Sci-Fi
If only I could ever find the original: the dubbed version is just too much. I had to turn the sound off at times. Otherwise it's a sci-fi of surprising quality proving that East Germany has managed some pretty decent films in its 50's and 60's cinematic heyday. I love the genuine PC (not our fake one!) detail: the spaceship crew include an African and a Chinese scientist something unimaginable in Hollywood not only back in its 50's sci-fi schlok era. However, this film is not all peaches and cream: it drags a bit, and at times feels chopped up. I don't know how much of the original was edited out but it feels as if it needs a longer time frame. Overall, fun to watch and compare to other sci-fi films from the same period. ... Read more

Reviews (25)

Finally, a widescreen version
I bet I've watched this movie 20 times over the last 10 years between my old VHS copy and later Diamond Entertainment DVD version. I can't explain why, but I love this movie. It's the perfect lay in bed and doze-off-to movie. My recommendation: skip the Diamond fullscreen DVD version (which doesn't have any better quality than VHS tape) and go for the Image version. The only advantage the Diamond DVD has is that it's a double feature with "Voyage to the Prehistoric Planet", an almost decent dozer. I won't go into the plot or details since other reviews have. I can only say that this is an entirely enjoyable movie for classic sci-fi fans.

For Classic Sci Fi Lovers
I bought this film based on vague childhood memories of neat movie about a dark and mysterious planet being visited by an international crew from Earth. I was not disappointed. Although its translation into English adds a hokey air and a few chuckles due to some rather clumsy dialog, special effects (not high tech) and a generally good story line make this an interesting and highly entertaining film. If you're a SciFi buff, this film is a must.

You get what you pay for
NOT as described by Amazon or the jacket - not the 130 minute original but the 78 minute dubbed version shown in the UK. The same poor quality picture (resolution 720 x 480) and sound as the 2000 release but much cheaper.
Based on Lem's 1951 first novel The Astronauts the theme is pacifist - compare with the also 1959 "On the Beach".
The fuzzy images on the DVD do not do justice to the excellent camerawork and (for the time) special effects.
At this price worth getting to compare with US films of the period.

Make Mine Venus!
Polish science fiction novelist Stanislaw Lem (born 1922) must take pride in the fact that his "Solaris" (1962) has now been twice filmed, first by Andrei Tarkovsky (1972) and more recently - also less effectively - by an American director whose name escapes me (2003); yet as early as 1960 Lem's first science fiction novel, "The Astronauts" (1952), had already appeared in an adaptation for the silver screen, directed by an East German, Kurt Maetzig. "First Spaceship on Venus" issued, in fact, from a Polish and East German collaboration, with contributions, in the ensemble of players, from three or four "third world" nations. Viewers will recognize Japanese actress Yoko Tani as the sole female crewmember of the space research vessel "Cosmostrator," the titular "First Spaceship" on earth's putative "twin," Venus. This is a mostly superb film, quite magical in its expressionistic special effects. Enticingly for audiences, almost half of the action takes place on Venus amidst sets that do justice to Lem's insistence that alien life will be incomprehensible to humanity. The story, briefly, is this: in 1985 excavations "to irrigate the Gobi Desert" discover extraterrestrial artifacts, one of which, a glassy "spool," contains the last message sent home from a spaceship engaged in reconnoitering the earth. The narration links this fictional incident to the actual 1908 Tunguska meteor impact. The "spool" has sustained damage and yields only a fraction of its contents, but from this bit scientists determine that the visitors originated on Venus, whereupon the "World Space Agency" determines to mount an expedition there. An international crew take command of the "Cosmostrator." The "Cosmostrator" itself demands some attention as one of the most unusual of silver-screen spaceships of the 1950s and 60s: its central silvery cylinder, housing the crew, is surrounded by four similarly hued cylinders of nearly equal dimension housing the engines; the sum of it is a kind of powerful elegance. But the real interest lies in the Venusian scenario itself. Maetzig gives us a shadowy, smoke-and-gas- shrouded landscape full of weird, half-obliterated shapes. One sequence shows the astronauts moving in their "ground cars" through what appears to be a street of melted skyscrapers; there are also huge underground spaces and indecipherable geodesic spheres and cones. The explorers gradually deduce that, on the verge of dousing the earth with radiation preparatory to invading and occupying it, the Venusians destroyed themselves in a fratricidal atomic war. We see the permanently etched shadows of the victims on a blasted wall. In an extremely alien episode, a lake of organic muck chases the terrestrials up the spiral ramp of a half-fused tower, only to retreat mysteriously before catching them fatally at the summit. The visuals elude adequate verbal description. If anyone knew the work of the 1950s and 60s science fiction illustrator Richard Powers, who did paperback covers in a semi-abstract style full of glassy-metallic quasi-biological and quasi-mechanical shapes, that might serve as a good reference. (Samples of Powers' work can be found on-line, should anyone care to go looking.) At the film's finale, in the prototypical Lem-gambit, the Venusians' automated defenses reverse the planet's gravity-field, hurling the "Cosmostrator" back into space, minus two or three unlucky casualties. Despite the Soviet-era utopian bravura, the mission has accomplished but little - the explorers are, in effect, defeated. Between the human and the non-human no genuine communication seems possible, especially where one party has insulated itself behind layers of electronics and automation and is long since a collective suicide. (This story of non-communication comes quite close to the plot of "Solaris," superficial differences notwithstanding - Tarkovsky must surely have known Maetzig's film; he would of course have been familiar with Lem's work beyond "Solaris.") One senses that this English version, with a dubbed soundtrack for American distribution, probably leaves a good many scenes on the cutting-room floor; neither can one tell much about the acting, which, in any case, is of less interest than the strangely realized other world. There is an amusing tracked robot named Omega. The source-print seems well preserved and the format is wide-screen. (A video-tape from a different producer derived from a faded print and cut the image down to television-screen dimensions.) On the strength of the scenic design, this movie should recommend itself to genre aficionados. Anyone who has never seen it is in for a treat.

Pretty cool East-German Sci-Fi
If only I could ever find the original: the dubbed version is just too much. I had to turn the sound off at times. Otherwise it's a sci-fi of surprising quality proving that East Germany has managed some pretty decent films in its 50's and 60's cinematic heyday. I love the genuine PC (not our fake one!) detail: the spaceship crew include an African and a Chinese scientist something unimaginable in Hollywood not only back in its 50's sci-fi schlok era. However, this film is not all peaches and cream: it drags a bit, and at times feels chopped up. I don't know how much of the original was edited out but it feels as if it needs a longer time frame. Overall, fun to watch and compare to other sci-fi films from the same period. ... Read more

Reviews (25)

Finally, a widescreen version
I bet I've watched this movie 20 times over the last 10 years between my old VHS copy and later Diamond Entertainment DVD version. I can't explain why, but I love this movie. It's the perfect lay in bed and doze-off-to movie. My recommendation: skip the Diamond fullscreen DVD version (which doesn't have any better quality than VHS tape) and go for the Image version. The only advantage the Diamond DVD has is that it's a double feature with "Voyage to the Prehistoric Planet", an almost decent dozer. I won't go into the plot or details since other reviews have. I can only say that this is an entirely enjoyable movie for classic sci-fi fans.

For Classic Sci Fi Lovers
I bought this film based on vague childhood memories of neat movie about a dark and mysterious planet being visited by an international crew from Earth. I was not disappointed. Although its translation into English adds a hokey air and a few chuckles due to some rather clumsy dialog, special effects (not high tech) and a generally good story line make this an interesting and highly entertaining film. If you're a SciFi buff, this film is a must.

You get what you pay for
NOT as described by Amazon or the jacket - not the 130 minute original but the 78 minute dubbed version shown in the UK. The same poor quality picture (resolution 720 x 480) and sound as the 2000 release but much cheaper.
Based on Lem's 1951 first novel The Astronauts the theme is pacifist - compare with the also 1959 "On the Beach".
The fuzzy images on the DVD do not do justice to the excellent camerawork and (for the time) special effects.
At this price worth getting to compare with US films of the period.

Make Mine Venus!
Polish science fiction novelist Stanislaw Lem (born 1922) must take pride in the fact that his "Solaris" (1962) has now been twice filmed, first by Andrei Tarkovsky (1972) and more recently - also less effectively - by an American director whose name escapes me (2003); yet as early as 1960 Lem's first science fiction novel, "The Astronauts" (1952), had already appeared in an adaptation for the silver screen, directed by an East German, Kurt Maetzig. "First Spaceship on Venus" issued, in fact, from a Polish and East German collaboration, with contributions, in the ensemble of players, from three or four "third world" nations. Viewers will recognize Japanese actress Yoko Tani as the sole female crewmember of the space research vessel "Cosmostrator," the titular "First Spaceship" on earth's putative "twin," Venus. This is a mostly superb film, quite magical in its expressionistic special effects. Enticingly for audiences, almost half of the action takes place on Venus amidst sets that do justice to Lem's insistence that alien life will be incomprehensible to humanity. The story, briefly, is this: in 1985 excavations "to irrigate the Gobi Desert" discover extraterrestrial artifacts, one of which, a glassy "spool," contains the last message sent home from a spaceship engaged in reconnoitering the earth. The narration links this fictional incident to the actual 1908 Tunguska meteor impact. The "spool" has sustained damage and yields only a fraction of its contents, but from this bit scientists determine that the visitors originated on Venus, whereupon the "World Space Agency" determines to mount an expedition there. An international crew take command of the "Cosmostrator." The "Cosmostrator" itself demands some attention as one of the most unusual of silver-screen spaceships of the 1950s and 60s: its central silvery cylinder, housing the crew, is surrounded by four similarly hued cylinders of nearly equal dimension housing the engines; the sum of it is a kind of powerful elegance. But the real interest lies in the Venusian scenario itself. Maetzig gives us a shadowy, smoke-and-gas- shrouded landscape full of weird, half-obliterated shapes. One sequence shows the astronauts moving in their "ground cars" through what appears to be a street of melted skyscrapers; there are also huge underground spaces and indecipherable geodesic spheres and cones. The explorers gradually deduce that, on the verge of dousing the earth with radiation preparatory to invading and occupying it, the Venusians destroyed themselves in a fratricidal atomic war. We see the permanently etched shadows of the victims on a blasted wall. In an extremely alien episode, a lake of organic muck chases the terrestrials up the spiral ramp of a half-fused tower, only to retreat mysteriously before catching them fatally at the summit. The visuals elude adequate verbal description. If anyone knew the work of the 1950s and 60s science fiction illustrator Richard Powers, who did paperback covers in a semi-abstract style full of glassy-metallic quasi-biological and quasi-mechanical shapes, that might serve as a good reference. (Samples of Powers' work can be found on-line, should anyone care to go looking.) At the film's finale, in the prototypical Lem-gambit, the Venusians' automated defenses reverse the planet's gravity-field, hurling the "Cosmostrator" back into space, minus two or three unlucky casualties. Despite the Soviet-era utopian bravura, the mission has accomplished but little - the explorers are, in effect, defeated. Between the human and the non-human no genuine communication seems possible, especially where one party has insulated itself behind layers of electronics and automation and is long since a collective suicide. (This story of non-communication comes quite close to the plot of "Solaris," superficial differences notwithstanding - Tarkovsky must surely have known Maetzig's film; he would of course have been familiar with Lem's work beyond "Solaris.") One senses that this English version, with a dubbed soundtrack for American distribution, probably leaves a good many scenes on the cutting-room floor; neither can one tell much about the acting, which, in any case, is of less interest than the strangely realized other world. There is an amusing tracked robot named Omega. The source-print seems well preserved and the format is wide-screen. (A video-tape from a different producer derived from a faded print and cut the image down to television-screen dimensions.) On the strength of the scenic design, this movie should recommend itself to genre aficionados. Anyone who has never seen it is in for a treat.

Pretty cool East-German Sci-Fi
If only I could ever find the original: the dubbed version is just too much. I had to turn the sound off at times. Otherwise it's a sci-fi of surprising quality proving that East Germany has managed some pretty decent films in its 50's and 60's cinematic heyday. I love the genuine PC (not our fake one!) detail: the spaceship crew include an African and a Chinese scientist something unimaginable in Hollywood not only back in its 50's sci-fi schlok era. However, this film is not all peaches and cream: it drags a bit, and at times feels chopped up. I don't know how much of the original was edited out but it feels as if it needs a longer time frame. Overall, fun to watch and compare to other sci-fi films from the same period. ... Read more