FIRST MEN IN THE MOON (1964)
There aren't really any movies involving the effects magic of Ray Harryhausen that can be considered bad. Some are more dull than others, particularly in the case of It Came From Beneath the Sea. But people are likely to remember a giant octopus, if nothing else. This on the other hand is far more forgettable for one reason or another. Perhaps it's because of the lethargic pace or the way it spends so much time on planet Earth. Maybe it's the flashback structure or the lack of real monster action even when things actually get moving. Or it could just be the fact that despite having so much screen time dedicated to the men of the title none of them are written with any consistency.
The story begins in 1964, the same year as the film's release, with a United Nations rocket module arriving on the lunar surface. It's a pretty neat opening with a realistic enough space craft, although the astronaut costumes might be a bit distracting for any fans of The Empire Strikes Back. The expedition is surprised to find that they have been beaten in the race when they, conveniently, touch down right next to a previous landing site. It seems that the moon has been claimed for Britain by an unknown party which left their flag in 1899. Anxious to find out how this is possible the authorities rush to question an elderly Arnold Bedford (Edward Judd) whose fiancée Kate (Martha Hyer) is named in a letter that was left behind. But it's here that any sense of urgency is abandoned.
When the explorers finally reach the moon it's odd to see them change in personality as things unfold. Faced with a subterranean civilization Cavor is suddenly a sombre and serious man of science. His over acting is replaced by a concern to foster peace and explain the evils of humankind. He's no longer hyper-active and frowns on Bedford's violence towards the local lifeforms. Bedford himself forgets his his playwright persona and even his desire for gold, becoming a man of action for some reason. Maybe this was written as a four character story? If Cavor brought his own lab assistant and Kate was actually given something to do it would make more sense. Instead it feels like someone realized that the story needed an antagonist at the last minute.
It's an odd transformation for them and the story as a whole, with the
film becoming less offbeat and more self-serious as it reaches a
conclusion. The first half suggests this is a light adventure story before it slowly becomes something that is meant to have a thematic message. At least the production design is always appropriate for the whole Victorians in space aesthetic. In reality Cavor's spherical ship doesn't make much sense from a functional perspective. It's painted in a gold substance that deflects gravity, and how this is directed or controlled is never clear. But on the other hand all the steam train bumpers and velvet curtains are a nice touch. Bringing livestock to a trip that uses diving suits seems like a natural progression.
The actual moon creatures aren't really featured that much unfortunately. Those that get the most screen time are insect like Selenites played by actors in rubber costumes. Thankfully their larger more intelligent relatives are eventually shown to be stop motion creations. In something like the Sinbad films these would be minor characters that are briefly used in the first act. However beyond the brief use of a giant a caterpillar the film rarely fires on all cylinders when it comes to the monster action. There's just not that much for the Selenite leaders to do besides stare ominously as Cavor explains things human occupations such as war.
If only the story was set on the moon from the outset so that a sense of exploration and discovery was built up. Or if the whole altruism versus hostility idea was planted anywhere early on. The end results are colourful and occasionally interesting, particularly when the giant machines powering the moon interior are shown. But the story is slow instead of engaging, with the final tonal changes feeling rushed and lacking enough forethought. Using this all as an excuse to riff on Journey to the Centre of the Earth might have been derivative, but it would be a more logical choice. Overall it's easy to see why this one isn't talked about that often today as a classic of the period.
2/5
BONUS REVIEW
THE VALLEY OF GWANGI (1969)
This on the other hand might not be a classic... but it's certainly a classic premise. Everyone remembers the cowboys and dinosaurs movie. If only for the whole sequence where a prehistoric creature is captured by lasso. Structurally it's also a bit strange, and the whole Lost World element is fairly brief chapter in the story. What's wrong with spending most of the running time here? I wonder what the film makers have against this. But with the rush to get things back to civilization it all moves along at a good pace at least. The main issue here is that this has all been done before in the three decades since King Kong. It's telling that the script had been passed around since the 1940s and was previously a Willis O'Brien idea.
The idea is fun at least and the film doesn't waste (too much) time getting there. Unfortunately there are still subplots involving greedy entrepreneurs and romantic entanglements. I guess that's the price you pay for the period setting which avoids military action and laboratories for once. The main focus is the rush to find the eponymous valley after a tiny horse is taken from the area. As a result square jawed showman Tuck (James Franciscus) and eccentric Professor Bromley (Laurence Naismith) team up to prove its prehistoric origins. Despite the talk about curses and the potential for dinosaur related tragedy the trip goes ahead. But soon Tuck and his ex-girlfriend T.J. (Gila Golan) become focused on capturing one of the creatures alive to use in a circus.
It makes sense to have a clash between those who want profits and those who want knowledge, even if the film barely touches on this theme. The end product is entertaining enough even if the set pieces are very familiar, right down to the monster versus elephant sequence and the fiery ending. It had been a few years since these moments were last used by Harryhausen, but as a result they're not exactly cutting edge. Gwangi is also a recognizable monster, even if they say it's an Allosaurus not a Tyrannosaurus Rex and give the model a purple colour. The tail movement and snarling mouth is very familiar. Still, originality isn't everything and this is a story that has plenty of charm. Again it might have something to do with the premise. It's corny but it's endearing.
3/5
