Conquest of Space - Knowledge

1238:

through the sheer curtains as they were being drawn. Then, with the first frame of the film there started a 2-minute sensory experience. It may well be that primed or serious film viewers could watch this movie’s opening and experience the common, wonderful involuntary spine-tingling sensation (probably triggered by the release of endorphins, oxytocin, and serotonin) that this viewer did. . While the Paramount logo appears for five seconds and while it is dissolving into the first frame of the picture, the martial score of Nathan Van Cleave begins with a crash of cymbals and a rising fanfare of expressive horns. The first frames of film show the spectacle of a blanket of stars and nebula not like any starscape I had seen before or since (no, not even Forbidden Planet, 2001, or Star Wars). Space has never been so black, nor the stars so scintillating. The scattered and crystalline disk of the Milky Way, glowing across the entire VistaVision-shaped screen, is a blend of purples and blues and blacks that stunned me, so I felt that I was looking into infinite space. Toward the top of the frame, small in the distance and drifting slowly in front of the stars, is the white circular von Braun-inspired space station that is at the heart of the story. It is at once spinning and orbiting the earth whose blue disk fills the bottom quarter of the screen. Also, in the distance but somewhat to the left and closer to the camera is a white spaceship with broad wings and globular fuel tanks. As these images appear, Van Cleave’s score becomes quiet and eerie with the music gently rising and falling in pitch and blending with a subtly ethereal chorus, all underscoring the impossibility of seeing these images. At the exact moment these frames begin, a man’s deeply sonorous voice narrates emphatically: “This is a story of tomorrow, or the day after tomorrow, when men have built a station in space, constructed in the form of a great wheel— —and set a thousand miles out from the earth, fixed by gravity, and turning about the world every two hours, serving a double purpose: an observation post in the heavens, and a place where a spaceship can be assembled— —and then launched to explore other planets, and the vast universe itself, in the last and greatest adventure of mankind—a plunge toward the— —CONQUEST OF SPACE!” All this takes exactly two minutes and was only the beginning of this steadfastly visual motion picture.

1431: 1415: 340:

their launch window arrives, they hear low rumbling sounds, then see rocks falling, and feel the ground shake violently. The ground level shifts during this violent marsquake. Their spaceship is now leaning at a precarious angle and cannot make an emergency blast off. To right the spaceship, the crew uses the rocket engines' powerful thrust to shift the ground under the landing legs. The attempt works and they blast off, the spaceship rising just as the Martian surface completely collapses.

723:: “Articulating his vision about the infiniteness of space, Kubrick use America’s Apollo space program as a means to embark from. goal was to land humans on the Moon and return them safely to earth. . . . hile the American space program influenced Kubrick's work, it did not provide him with the material he needed to visualize space travel and with the technology of the future. A 1955 film, George Pal’s 667:. We were eight years old. ... ‘Reeling’ by on the giant screen, we saw a giant circular space station in orbit one hundred miles up, seemingly in orbit above me over Hollywood. Wow! And that was just the beginning. Awesome rocket ships of various shapes flew about. ... Finally, the movie ended with a skillful . . . and joyful liftoff from the desolate red surface of Mars. ...” 762:

within the titles so as to induce an impression of “the infiniteness of space,” it may be that that sequence in part satisfied and fulfilled Kubrick’s requirements. It may be that a description of the scene may help some people visualize its expansiveness and expressiveness. Many things happen at the same time during the titles, which are cataloged here in footnote No.36.

1212:, yesterday's science-fiction entry at the Palace. They are the special effects artists, John P. Fulton, Irmin Roberts, Paul Lerpae, Ivyle Burks and Jan Domela. In telling the fanciful tale of man's first trip to Mars, they created top-flight effects such as "the wheel," a self-contained station orbiting about earth rocket flights in space . . . . These facets of the 622:... gave Pal and Haskin an excuse to show realistic take-offs, space maneuverings, and a landing on Mars ... achieved with some flair. Drama in the shape of a religious maniac at the helm detracts little from the essential narrative, and some of the detail is clever, such as the space burial with the suited corpse sliding slowly on a long fall into the sun". 633:

screen for your entertainment, but it's just spectacle for spectacle's sake". He, too, complains of matte lines, but acknowledges, "the composites are convincing enough for the time the film was made". Corupe described it as the "first big flop in Pal's career. It was a major setback that saw him abandon science fiction filmmaking for five years, including

758:, but also found quite a bit of inspiration in it.” Then Kinnard points out a number of similarities between the two films (illustrated with photo stills from the movies)—some obvious and others not so obvious. For example, the same space station wheel in both pictures noted by Roman (above) as well as a number of set pieces. 611:”. Furthermore, science fiction film authority Thomas Kent Miller states, "Blue screen was used extensively in this epic , and the blue line fringes are always quite evident throughout the movie. In fact, Fulton’s remarkable and iconic Parting of the Red Sea sequence is a great hodgepodge of intersecting blue fringe lines". 36: 710:

Principally, Kubrick was on the lookout for particular and specific images and themes that referenced or reflected the infinity of space—its inherent magic and beauty—in other words, its ability to spark a sense of wonder. Of the myriad early science-fiction productions that Kubrick must have viewed,

322:

Eight months later, the general is becoming increasingly mentally unbalanced, focusing on Sgt. Fodor's loss as "God's judgement". On the Mars landing approach, he attempts to crash their spaceship, now convinced the mission violates the laws of God. Barney wrests control away from his father, landing

715:

that shied away from the sorts of expensive special visual effects and matte paintings that would ordinarily inspire awe or wonder in casual audiences. Kubrick’s goal was to create a space tale that was thought-provoking and that included numerous images that were truly awesome (in the proper sense

632:

said "The special effects are quite ambitious but clumsily executed, in particular the matte work". Paul Corupe said that often "the overall image on screen that inspires awe: the Martian landscape, the general's high-tech office, and the vastness of the cosmos. The film's budget is certainly up on

343:

Once in space, Barney and Mahoney reconcile. Impressed with Barney's heroism and leadership while on Mars, Mahoney concludes that pursuing Barney's court martial for his father's death would only impugn the general's reputation, tarnishing what previously had been a spotless military career. Better

339:

Mars proves to be inhospitable, and they struggle to survive with their decreased water supply. Earth's correct orbital position for a return trip is one year away. While glumly celebrating their first Christmas on Mars, a sudden snowstorm blows in, allowing them to replenish their water supply. As

301:

A giant spaceship has been built in a nearby orbit, and an Earth inspector arrives aboard the station with new orders: Merritt Sr. is being promoted to general and will command the new spaceship, now being sent to Mars instead of the Moon. As General Merritt considers his crew of three enlisted men

540:

by Willy Ley, Wernher von Braun, and Chesley Bonestell. All of these books mainly feature text that is straight popular science, with no fictional characters or story line. In addition, according to director Byron Haskin, "We had Wernher von Braun on the set all the time...as a technical advisor".

1237:

It is possible that the visual style and impact of the title sequence could impact some individuals from the first frame of film. Back in the mid-1950s, movie screens had curtains in front of them. When the lights went down and the movie started, the audience could see the Paramount mountain logo

727:

provided Kubrick with a sense of direction in his . . . pursuit of this imagery. in Pal’s film there is rotating wheel or earth station that Kubrick adapts to 2001, and he creates a poetic image of it floating and rotating in space . . . .” The goal of this exercise of viewing dozens of earlier

761:

Regarding Kinnard’s expression “quite a bit of inspiration”, insofar as the film’s two-minute title sequence was designed by Paramount’s consummate special visual effects professionals to stimulate our senses, especially sight and hearing, by concentrating evocative imagery of space and nebulae

625:

Modern audiences are apt to notice the presence of matte lines. Reviewer Glenn Erickson said that "the ambitious special effects were some of the first to garner jeers for their lack of realism". Erickson correctly assesses the film as "a flop that seriously hindered George Pal's career as a

297:

Humankind has achieved space flight capability and built "The Wheel" space station in orbit 1,075 miles (1,730 km) above Earth. It is commanded by its designer, Colonel Samuel T. Merritt. His son, Captain Barney Merritt, having been aboard for a year, wants to return to Earth.

288:

The story concerns the first interplanetary flight to Mars, carrying a crew of five, and launched from Earth orbit near "The Wheel", mankind's first space station. On their long journey they encounter various dangers, both from within and without, that nearly destroy the mission.

732:

s highly-criticized story line and character development and instead focused on the film's remarkable design. He sought high-quality, well-crafted images that would stimulate himself and his creative staff to reach higher to find the look and design of his own film.

318:

coming at them. The general fires the engines, barely managing to avoid a collision, but the planetoid's fast-orbiting debris punctures Sgt. Fodor's spacesuit, killing him instantly. After a religious service in space, Fodor's body is cast adrift into the void.

327:

glider-rocket safely. Later, as the crew takes their first steps on Mars, they look up and see water pouring down from the now vertical return rocket. Barney quickly discovers the leak is sabotage caused by his father, who threatens his son with a

495:

for Pal, was working on a script. In January 1953 Philip Yordan was working on the script. The following month Byron Haskin was named as director and Wernher von Braun would be a technical adviser. James Hanlon did the final script.

544:

Although the budget was $ 1.5 million, George Pal and Paramount decided not to use stars. Walter Brooke turned down a five-year contract to appear in a soap opera to make the movie. Eric Fleming was pulled out of the cast of

578:

Film authority Roy Kinnard says, “In examining the plethora of 1950s science-fiction movies which deal with the theme of man's journeying to other worlds in order to advance his own knowledge, George Pal’s production of

1359:. Essays by Joseph Kaplan, Wernher Von Braun, Heinz Haber, Willy Ley, Oscar Schachter, Fred L. Whipple; Illustrations by Chesley Bonestell, Rolf Klep, Fred Freeman. New York: Viking Press, 1952. ASIN: B0000CIFLX. 305:

Right after the crew watches a TV broadcast from their family and friends, the mission blasts off. The general's undiagnosed and growing space fatigue is beginning to seriously affect his judgement: reading his

302:

and one officer, his close friend, Sgt. Mahoney volunteers. The general turns him down for being 20 years too old. Hearing that Mars is the new destination, Barney Merritt volunteers to be the second officer.

777:

and bears the caption: “The highest form of flattery: As in other genres, science fiction filmmakers often include homages to earlier works. An ultra-realistic image of likely future travel from George Pal’s

999:

Kinnard, Roy. “A New Look at an Old Classic: Conquest of Space” in Fantastic Films: The Magazine of Fantasy & Science Fiction in the Cinema, Volume 2, Number 2. Chicago: Blake Publishing Corp., June

626:

producer". Paul Brenner said, "Pal pulls out all stops in the special effects department, creating 'The Wheel', rocket launches into space, and a breathtaking near-collision with an asteroid".

314:, having hidden in a crew spacesuit. Their piloting radar antenna later fails, and two crewmen go outside to make repairs. They manage to get it working just as their monitors show a glowing 707:. While Kubrick planned his space epic, he made a point of viewing virtually all science-fiction movies to understand what the genre had done before, and also to learn what tropes to avoid. 699: 332:. The two struggle and the pistol discharges, killing the general. Sgt. Mahoney, who observed only the last stages of the struggle, wants Barney confined under arrest with the threat of 605:

are crude ... but this is hardly a technical flaw unique to this picture. Many productions of the 50s had difficulty with blue screen work, even multi-million-dollar spectaculars like

446:

were intended to be as realistic as possible in depicting the first voyage to Mars. The film's theatrical release poster tagline reads: "See how it will happen ... in your lifetime!"

1208:

movie review, "Special Effects Show 'Conquest of Space'", May 28, 1955. "There is very little doubt about who should receive a generous amount of credit and praise for

863:

GEORGE PAL PLANS NEW FILM ON SPACE: Science-Fiction Producer May Do Movie on Satellite That Hangs Out in Universe By THOMAS M. PRYORS New York Times 21 May 1952: 22.

1352:

Roman, James. Bigger Than Blockbusters: Movies That Defined America. Westport, Connecticut, London. Greenwood Publishing Group. p. 153. 2009.

1791: 945:

Haskin, Byron. Byron Haskin: An Interview by Joe Adamson. Metuchen, New Jersey: The Directors Guild of America and Scarecrow Press, 1984, p. 230.

583:

stands head and shoulders above the others.... n a ... genre overburdened with cheap and shoddy productions that are all too deserving of scorn,

1161:

Miller, Thomas Kent. Mars in the Movies: A History. Jefferson, North Carolina: McFarland & Company, pp. 53-70. 2016. ISBN 978-0-7864-9914-4.

595:. Besides the massive, graceful spacecraft shown in this film, it was Fulton who was responsible for parting the Red Sea in the 1956 version of 1756: 1247:

Miller, Thomas Kent. Mars in the Movies: A History. Jefferson, North Carolina: McFarland & Company, pp. 66. 2016. ISBN 978-0-7864-9914-4.

1183:

Roman, James. Bigger Than Blockbusters: Movies That Defined America. Westport, Connecticut, London. Greenwood Publishing Group. p. 153. 2009.

1228:

Miller, Thomas Kent. Mars in the Movies: A History. Jefferson, North Carolina: McFarland & Company, p. 66. 2016. ISBN 978-0-7864-9914-4.

1106:

Miller, Thomas Kent. Mars in the Movies: A History. Jefferson, North Carolina: McFarland & Company, 2016. p. 64 ISBN 978-0-7864-9914-4.

1290:

Haskin, Byron. Byron Haskin: An Interview by Joe Adamson. Metuchen, New Jersey: The Directors Guild of America and Scarecrow Press, 1984.

564:

Judgments on the quality of the film's special effects have varied. Upon the film's release, reviewer Oscar A. Godbout in his review for

1038:

Miller, Thomas Kent. Mars in the Movies: A History. Jefferson, North Carolina: McFarland & Company, 2016. ISBN 978-0-7864-9914-4.

536:

magazine, "Can we get to Mars?" by von Braun, with Cornelius Ryan. This would later be incorporated into the 1956 Viking Press book

742:

article, “Conquest of Space: A New Look at an Old Classic”, that the visually arousing design of Kubrick’s 2001 was influenced by

1761: 1746: 1377: 1074: 1483: 800: 1781: 1766: 1346: 663:

offers a memory of 1955: “y pal Bruce and I hurried into the Hawaii Theatre on Hollywood Boulevard to see a new color movie,

754:, Kubrick watched virtually every science fiction film ever made, and it is not unreasonable to assume that he not only saw 1741: 917:

ColeenGray 'Arrow' Star; Pidgeon in 'Squadron;' Erin O'Brien-Moore Cast Schallert, Edwin. Los Angeles Times 12 Sep 1953: 9.

854:

Rattigan Script Stirs Anglo-American Project; Downs 'Dog's Life' Lead Schallert, Edwin. Los Angeles Times 16 Sep 1949: 27.

750:

its startling parallels with Stanley Kubrick’s epic 1968 production. It is a well-known fact that before he began work on

1285:

Modern Sci-Fi Films FAQ: All That’s Left to Know About Time Travel, Alien, Robot, and Out-of-This-World Movies Since 1970

1280:

Brodie, Douglas. Fantastic Planets, Forbidden Zones, and Lost Continents. Austin, University of Texas Press, p xii. 2015.

1095:

Modern Sci-Fi Films FAQ: All That’s Left to Know About Time Travel, Alien, Robot, and Out-of-This-World Movies Since 1970

1054: 645: 628: 591:... are outstanding for their time ... and they are the well-tailored work of one of Hollywood’s most gifted craftsmen, 20: 934: 1776: 1657: 1601: 1389: 1371: 1310: 1295: 982: 908:

Phone Pole Problems Inspire Film Plan; Alex Nicol Hinted as Boxer Schallert, Edwin. Los Angeles Times 2 Feb 1953: B9.

899:

DISNEY FILMS SET TO GROW IN LENGTH: By THOMAS M. PRYORSpecial to THE NEW YORK TIMES. New York Times 31 Jan 1953: 10.

597: 310:

frequently, he has doubts about the righteousness of the mission. After launch, Sgt. Mahoney is discovered to be a

972:

Barbara Britton Stars With Hodiak; Ann Lee to Play on Broadway Schallert, Edwin. Los Angeles Times 5 Aug 1953: B7.

344:

is the fiction that "the man who conquered space" died in the line of duty, sacrificing himself to save his crew.

1751: 639: 484:. George Pal bought the book's film rights at the suggestion of Ley. Universal said they had a similar project, 428: 795: 1786: 499:

Bonestell, noted for his photorealistic paintings showing views from outer space, worked on the film's space

881:

FILM WRITERS SEEK TO END R. K. O. SUIT: New York Times (1923-Current file); New York, N.Y. 05 June 1952: 39.

1593: 1529: 570:

praised the effects, but was disparaging of the storyline, noting "... as plots go...it is not offensive".

1561: 1476: 1456: 963:

DOWLING TO MAKE FILM OF HURRICANE: New York Times (1923-Current file); New York, N.Y. 28 Nov 1953: 11.

805: 519: 1513: 378: 1705: 1625: 1585: 469: 1609: 547: 1771: 1713: 1673: 1521: 1469: 1442: 1115: 455: 87: 75: 1649: 634: 1430: 8: 1736: 1545: 1414: 1050: 765:

Additionally, the frontispiece illustration to the introduction of Douglas Brodie’s 2015

607: 1553: 1213: 986: 566: 366: 282: 262: 178: 124: 1071: 1665: 1569: 1409: 1385: 1367: 1342: 1306: 1291: 736:

Furthermore, the genre film authority Roy Kinnard also suggests strongly in his 1979

671: 508: 464: 92: 1216:

production—and fortunately they are many and frequent—are much to marvel at . . . ."

1617: 728:

science-fiction movies had little to do with plot elements; Kubrick simply ignored

528: 423: 1023: 1697: 1689: 1681: 1641: 1461: 1135: 1078: 738: 694: 675: 255: 144: 71: 1577: 1505: 1205: 592: 500: 384: 1447: 35: 1730: 1436: 656: 354: 333: 274: 249: 134: 116: 67: 1318:

Fantastic Films: The Magazine of Fantasy & Science Fiction in the Cinema

1152:. Westport, Connecticut, London. Greenwood Publishing Group. p. 153. 2009. 697:

began planning his next film project following his critical and popular hit

1537: 1493: 1097:

by Tom DeMichael. Milwaukee, WI: Applause Theatre & Cinema Books, 2014.

831:

Pal Plans $ 1,500,000 Film Without Stars Los Angeles Times 28 Nov 1953: A6.

660: 513: 414: 360: 329: 315: 278: 270: 120: 51: 1174:. Westport, Connecticut, London. Greenwood Publishing Group. p. 153. 2009. 402: 396: 390: 372: 324: 252: 40: 1420: 1403: 954:

Actor Turns Down TV for Movie Part The Washington Post ]17 Jan 1954: L3.

681: 266: 154: 106: 716:

of the word); thus, it was his intention “to pull out all the stops”.

587:

rises above the tide of mediocrity. ... he special visual effects in

551:

on Broadway to appear in the film. Filming started 16 November 1954.

460: 96: 890:

ZANUCK MAY FILM JESSEL LIFE STORY: New York Times 28 June 1952: 11.

700:

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb

1426: 1316:

Kinnard, Roy. “A New Look at an Old Classic: Conquest of Space” in

1133:

Kinnard, Roy. “Conquest of Space: A New Look at an Old Classic” in

712: 311: 1320:, Volume 2, Number 2. Chicago: Blake Publishing Corp., June 1979. 782:(1955) would be almost precisely referenced in Stanley Kubrick’s 532:, as well as material appearing in the April 30, 1954, issue of 526:

The film also incorporated concepts from von Braun's 1952 book

336:, but cooler heads prevail; Barney becomes the ranking officer. 511:

and Bonestell's space paintings, which originally appeared in

467:. George Pal had hired Bonestall to be a technical adviser on 307: 1384:. Jefferson, North Carolina: McFarland & Company, 1982. 1341:. Jefferson, North Carolina: McFarland & Company, 2016. 1224: 1222: 1287:. Milwaukee, WI: Applause Theatre & Cinema Books, 2014. 769:

shows a photo still of an astronaut floating in space from

258: 517:

magazine and were reprinted in the 1952 Viking Press book

491:

In June 1952 it was reported that Barré Lyndon, who wrote

1219: 1196:. New York. New American Library, Inc. pp. 100-106. 1972. 1129: 1127: 1258:

Fantastic Planets, Forbidden Zones, and Lost Continents

767:

Fantastic Planets, Forbidden Zones, and Lost Continents

1124: 689:

Approximately ten years following the 1955 release of

480:

In May 1952 Pal announced he would make a film out of

473:. This was a huge hit and Pal used Bonestall again on 1330:

Ley, Willy, Wernher von Braun and Chesley Bonestell.

1172:

Bigger Than Blockbusters: Movies That Defined America

1150:

Bigger Than Blockbusters: Movies That Defined America

721:

Bigger than Blockbusters: Movies that Defined America

719:

According to genre film authority James Roman in his

614:

British film critic John Baxter, in his 1970 volume,

19:

This article is about the film. For other uses, see

1491: 507:was closely modeled on the technical concepts of 1260:. Austin, University of Texas Press, p xii. 2015. 1084:, November 26, 2004. Retrieved: January 14, 2015. 559: 1728: 1334:. New York: Viking Press, 1956. ASIN: B0000CJKQN 1029:, October 30, 2004. Retrieved: January 14, 2015. 601:. ... It is true that the blue screen mattes in 1058:, March 22, 2012. Retrieved: January 14, 2015. 746:. He says, “...the most interesting aspect of 1477: 929: 927: 925: 923: 1305:. New York: A. S. Barnes and Company, 1977. 983:"Special Effects Show: 'Conquest of Space'." 678:currently rates the film at 50% ("Rotten"). 653:is probably George Pal's worst production". 1484: 1470: 1429: 1413: 1382:Keep Watching The Skies, Vol. I: 1950–1957 920: 34: 1066: 1064: 773:juxtaposed with an equivalent image from 1016: 841: 839: 837: 442:The science and technology portrayed in 426:(uncredited, performing "Ali Baba" from 1366:. London: Octopus Books Limited, 1976. 1327:. New York: Viking, 1949. Pre-ISBN era. 1792:English-language science fiction films 1729: 1061: 1046: 1044: 866: 827: 825: 801:List of films featuring space stations 1757:Films based on science fiction novels 1465: 1121:, 2023. Retrieved: February 28, 2023. 834: 703:. The follow-up would become 1968's 1055:The Encyclopedia of Science Fiction 1041: 822: 646:The Encyclopedia of Science Fiction 629:The Encyclopedia of Science Fiction 420:Iphigenie Castiglioni as Mrs. Fodor 13: 1109: 573: 21:Conquest of Space (disambiguation) 14: 1803: 1397: 453:is from the 1949 nonfiction book 1277:. New York: A. S. Barnes, 1970. 1266: 1250: 1241: 1231: 1199: 1186: 1177: 1164: 1155: 1142: 1139:Vol. 2, No. 2, pp. 48-53. 1979. 1116:"Ratings: 'Conquest of Space'." 1100: 1087: 1032: 1013:. New York: A. S. Barnes, 1970. 1003: 993: 975: 966: 957: 948: 939: 911: 711:most were certainly earthbound 682:Possible impact on Kubrick and 1762:Films directed by Byron Haskin 1747:American science fiction films 1072:"Review: 'Conquest of Space'." 902: 893: 884: 875: 857: 848: 796:List of American films of 1955 560:Critical response upon release 1: 1339:Mars in the Movies: A History 1275:Science Fiction in the Cinema 1093:Muren, Dennis. “Foreword” in 1011:Science Fiction in the Cinema 981:Goodbout, Oscar A. (O.A.G.). 811: 649:remarks "A truly awful film, 616:Science Fiction in the Cinema 437: 1782:1950s English-language films 1767:Films produced by George Pal 1530:Action in the North Atlantic 1024:"Review: Conquest of Space." 554: 523:, edited by Cornelius Ryan. 357:as General Samuel T. Merritt 7: 1742:1950s science fiction films 789: 503:. The production design of 10: 1808: 1658:From the Earth to the Moon 408:John Dennis as Donkersgoed 18: 1500: 1357:Across the Space Frontier 1051:"Conquest of Space, The." 806:List of films set on Mars 520:Across the Space Frontier 363:as Captain Barney Merritt 233: 225: 217: 207: 184: 174: 160: 150: 140: 130: 112: 102: 81: 57: 47: 41:Theatrical release poster 33: 28: 16:1955 American sci-fi film 1777:Paramount Pictures films 816: 193:April 20, 1955 169:Paramount Pictures Corp. 1706:Robinson Crusoe on Mars 1355:Ryan, Cornelius (ed.). 1332:The Exploration of Mars 1303:The Films of George Pal 1194:The Lost Worlds of 2001 845:Warren 1982 pp. 208-214 538:The Exploration of Mars 347: 292: 1752:Films about astronauts 1364:Science Fiction Movies 1301:Hickman, Gail Morgan. 411:Michael Fox as Elsbach 1674:Jet Over the Atlantic 1602:The War of the Worlds 1594:Denver and Rio Grande 1337:Miller, Thomas Kent. 1325:The Conquest of Space 784:2001: A Space Odyssey 705:2001: A Space Odyssey 684:2001: A Space Odyssey 456:The Conquest of Space 375:as Sgt. Jackie Siegle 88:The Conquest of Space 76:George Worthing Yates 1787:1950s American films 693:, the film director 598:The Ten Commandments 387:as Dr. George Fenton 1610:His Majesty O'Keefe 1546:Man-Eater of Kumaon 640:When Worlds Collide 475:When Worlds Collide 463:and illustrated by 429:Here Come the Girls 399:as Sgt. Andre Fodor 1554:Too Late for Tears 1533:(1943, uncredited) 1492:Films directed by 1443:TCM Movie Database 1256:Brodie, Douglas. 1192:Clarke, Arthur C. 1077:2004-12-04 at the 987:The New York Times 872:Hickman 1977 p. 87 730:Conquest of Space' 567:The New York Times 367:Mickey Shaughnessy 283:Mickey Shaughnessy 263:Paramount Pictures 179:Paramount Pictures 125:Mickey Shaughnessy 1724: 1723: 1666:The Little Savage 1634:Conquest of Space 1450:Conquest of Space 1438:Conquest of Space 1422:Conquest of Space 1405:Conquest of Space 1347:978-0-7864-9914-4 1210:Conquest of Space 1022:Erickson, Glenn. 780:Conquest of Space 744:Conquest of Space 725:Conquest of Space 691:Conquest of Space 672:review aggregator 665:Conquest of Space 651:Conquest of Space 620:Conquest of Space 585:Conquest of Space 581:Conquest of Space 509:Wernher von Braun 505:Conquest of Space 493:War of the Worlds 482:Conquest of Space 465:Chesley Bonestell 451:Conquest of Space 444:Conquest of Space 330:.45 semiautomatic 245:Conquest of Space 241: 240: 93:Chesley Bonestell 29:Conquest of Space 1799: 1626:Long John Silver 1618:The Naked Jungle 1486: 1479: 1472: 1463: 1462: 1453: 1433: 1417: 1362:Strick, Philip. 1283:DeMichael, Tom. 1261: 1254: 1248: 1245: 1239: 1235: 1229: 1226: 1217: 1203: 1197: 1190: 1184: 1181: 1175: 1168: 1162: 1159: 1153: 1146: 1140: 1131: 1122: 1113: 1107: 1104: 1098: 1091: 1085: 1068: 1059: 1048: 1039: 1036: 1030: 1020: 1014: 1007: 1001: 997: 991: 979: 973: 970: 964: 961: 955: 952: 946: 943: 937: 935:2016, pp. 60-69. 931: 918: 915: 909: 906: 900: 897: 891: 888: 882: 879: 873: 870: 864: 861: 855: 852: 846: 843: 832: 829: 635:a planned sequel 529:The Mars Project 470:Destination Moon 424:Rosemary Clooney 379:William Redfield 200: 198: 38: 26: 25: 1807: 1806: 1802: 1801: 1800: 1798: 1797: 1796: 1727: 1726: 1725: 1720: 1698:Captain Sindbad 1690:Armored Command 1682:September Storm 1642:The First Texan 1562:Treasure Island 1496: 1490: 1448: 1400: 1395: 1269: 1264: 1255: 1251: 1246: 1242: 1236: 1232: 1227: 1220: 1204: 1200: 1191: 1187: 1182: 1178: 1169: 1165: 1160: 1156: 1147: 1143: 1136:Fantastic Films 1132: 1125: 1119:Rotten Tomatoes 1114: 1110: 1105: 1101: 1092: 1088: 1079:Wayback Machine 1069: 1062: 1049: 1042: 1037: 1033: 1021: 1017: 1008: 1004: 998: 994: 990:, May 28, 1955. 980: 976: 971: 967: 962: 958: 953: 949: 944: 940: 932: 921: 916: 912: 907: 903: 898: 894: 889: 885: 880: 876: 871: 867: 862: 858: 853: 849: 844: 835: 830: 823: 819: 814: 792: 739:Fantastic Films 695:Stanley Kubrick 687: 676:Rotten Tomatoes 576: 574:Later critiques 562: 557: 548:My Three Angels 501:matte paintings 440: 435: 369:as Sgt. Mahoney 350: 295: 256:science fiction 210: 203: 196: 194: 187: 170: 165: 163: 145:Everett Douglas 123: 119: 74: 70: 66: 62: 43: 24: 17: 12: 11: 5: 1805: 1795: 1794: 1789: 1784: 1779: 1774: 1769: 1764: 1759: 1754: 1749: 1744: 1739: 1722: 1721: 1719: 1718: 1710: 1702: 1694: 1686: 1678: 1670: 1662: 1654: 1646: 1638: 1630: 1622: 1614: 1606: 1598: 1590: 1582: 1574: 1570:Tarzan's Peril 1566: 1558: 1550: 1542: 1534: 1526: 1518: 1510: 1506:Matinee Ladies 1501: 1498: 1497: 1489: 1488: 1481: 1474: 1466: 1460: 1459: 1445: 1434: 1418: 1399: 1398:External links 1396: 1394: 1393: 1375: 1360: 1353: 1350: 1335: 1328: 1321: 1314: 1299: 1288: 1281: 1278: 1273:Baxter, John. 1270: 1268: 1265: 1263: 1262: 1249: 1240: 1230: 1218: 1206:New York Times 1198: 1185: 1176: 1170:Roman, James. 1163: 1154: 1148:Roman, James. 1141: 1123: 1108: 1099: 1086: 1070:Corupe, Paul. 1060: 1040: 1031: 1015: 1009:Baxter, John. 1002: 992: 974: 965: 956: 947: 938: 919: 910: 901: 892: 883: 874: 865: 856: 847: 833: 820: 818: 815: 813: 810: 809: 808: 803: 798: 791: 788: 686: 680: 593:John P. Fulton 575: 572: 561: 558: 556: 553: 439: 436: 434: 433: 421: 418: 412: 409: 406: 400: 394: 388: 385:William Hopper 382: 376: 370: 364: 358: 351: 349: 346: 294: 291: 269:, directed by 265:, produced by 239: 238: 235: 231: 230: 227: 223: 222: 219: 215: 214: 211: 208: 205: 204: 202: 201: 190: 188: 185: 182: 181: 176: 175:Distributed by 172: 171: 168: 166: 161: 158: 157: 152: 148: 147: 142: 138: 137: 132: 131:Cinematography 128: 127: 114: 110: 109: 104: 100: 99: 83: 79: 78: 61:James O'Hanlon 59: 55: 54: 49: 45: 44: 39: 31: 30: 15: 9: 6: 4: 3: 2: 1804: 1793: 1790: 1788: 1785: 1783: 1780: 1778: 1775: 1773: 1770: 1768: 1765: 1763: 1760: 1758: 1755: 1753: 1750: 1748: 1745: 1743: 1740: 1738: 1735: 1734: 1732: 1716: 1715: 1711: 1708: 1707: 1703: 1700: 1699: 1695: 1692: 1691: 1687: 1684: 1683: 1679: 1676: 1675: 1671: 1668: 1667: 1663: 1660: 1659: 1655: 1652: 1651: 1647: 1644: 1643: 1639: 1636: 1635: 1631: 1628: 1627: 1623: 1620: 1619: 1615: 1612: 1611: 1607: 1604: 1603: 1599: 1596: 1595: 1591: 1588: 1587: 1583: 1580: 1579: 1575: 1572: 1571: 1567: 1564: 1563: 1559: 1556: 1555: 1551: 1548: 1547: 1543: 1540: 1539: 1535: 1532: 1531: 1527: 1524: 1523: 1519: 1516: 1515: 1511: 1508: 1507: 1503: 1502: 1499: 1495: 1487: 1482: 1480: 1475: 1473: 1468: 1467: 1464: 1458: 1454: 1451: 1446: 1444: 1440: 1439: 1435: 1432: 1428: 1424: 1423: 1419: 1416: 1411: 1407: 1406: 1402: 1401: 1391: 1390:0-89950-032-3 1387: 1383: 1379: 1376: 1373: 1372:0-7064-0470-X 1369: 1365: 1361: 1358: 1354: 1351: 1348: 1344: 1340: 1336: 1333: 1329: 1326: 1322: 1319: 1315: 1312: 1311:0-498-01960-8 1308: 1304: 1300: 1297: 1296:0-8108-1740-3 1293: 1289: 1286: 1282: 1279: 1276: 1272: 1271: 1259: 1253: 1244: 1234: 1225: 1223: 1215: 1211: 1207: 1202: 1195: 1189: 1180: 1173: 1167: 1158: 1151: 1145: 1138: 1137: 1130: 1128: 1120: 1117: 1112: 1103: 1096: 1090: 1083: 1080: 1076: 1073: 1067: 1065: 1057: 1056: 1052: 1047: 1045: 1035: 1028: 1025: 1019: 1012: 1006: 996: 989: 988: 984: 978: 969: 960: 951: 942: 936: 930: 928: 926: 924: 914: 905: 896: 887: 878: 869: 860: 851: 842: 840: 838: 828: 826: 821: 807: 804: 802: 799: 797: 794: 793: 787: 785: 781: 776: 772: 768: 763: 759: 757: 753: 749: 745: 741: 740: 734: 731: 726: 722: 717: 714: 708: 706: 702: 701: 696: 692: 685: 679: 677: 673: 668: 666: 662: 658: 657:Academy Award 654: 652: 648: 647: 642: 641: 636: 631: 630: 623: 621: 617: 612: 610: 609: 604: 600: 599: 594: 590: 586: 582: 571: 569: 568: 552: 550: 549: 542: 539: 535: 531: 530: 524: 522: 521: 516: 515: 510: 506: 502: 497: 494: 489: 487: 483: 478: 476: 472: 471: 466: 462: 459:, written by 458: 457: 452: 447: 445: 431: 430: 425: 422: 419: 416: 413: 410: 407: 404: 401: 398: 395: 393:as Sgt. Imoto 392: 389: 386: 383: 381:as Roy Cooper 380: 377: 374: 371: 368: 365: 362: 359: 356: 355:Walter Brooke 353: 352: 345: 341: 337: 335: 334:court martial 331: 326: 320: 317: 313: 309: 303: 299: 290: 286: 284: 280: 276: 275:Walter Brooke 273:, that stars 272: 268: 264: 260: 257: 254: 251: 247: 246: 237:$ 1.5 million 236: 232: 228: 224: 221:United States 220: 216: 212: 206: 192: 191: 189: 183: 180: 177: 173: 167: 159: 156: 153: 149: 146: 143: 139: 136: 135:Lionel Lindon 133: 129: 126: 122: 118: 117:Walter Brooke 115: 111: 108: 105: 101: 98: 94: 90: 89: 84: 80: 77: 73: 69: 68:Philip Yordan 65: 60: 58:Screenplay by 56: 53: 50: 46: 42: 37: 32: 27: 22: 1772:Mars in film 1712: 1704: 1696: 1688: 1680: 1672: 1664: 1656: 1648: 1640: 1633: 1632: 1624: 1616: 1608: 1600: 1592: 1584: 1576: 1568: 1560: 1552: 1544: 1538:I Walk Alone 1536: 1528: 1520: 1514:Irish Hearts 1512: 1504: 1494:Byron Haskin 1452:film trailer 1449: 1437: 1421: 1404: 1381: 1378:Warren, Bill 1363: 1356: 1338: 1331: 1324: 1323:Ley, Willy. 1317: 1302: 1284: 1274: 1267:Bibliography 1257: 1252: 1243: 1233: 1209: 1201: 1193: 1188: 1179: 1171: 1166: 1157: 1149: 1144: 1134: 1118: 1111: 1102: 1094: 1089: 1081: 1053: 1034: 1026: 1018: 1010: 1005: 995: 985: 977: 968: 959: 950: 941: 913: 904: 895: 886: 877: 868: 859: 850: 783: 779: 774: 770: 766: 764: 760: 755: 751: 747: 743: 737: 735: 729: 724: 720: 718: 709: 704: 698: 690: 688: 683: 669: 664: 661:Dennis Muren 655: 650: 644: 638: 627: 624: 619: 615: 613: 606: 602: 596: 588: 584: 580: 577: 565: 563: 546: 543: 537: 533: 527: 525: 518: 512: 504: 498: 492: 490: 486:Space Island 485: 481: 479: 474: 468: 454: 450: 448: 443: 441: 427: 415:Joan Shawlee 361:Eric Fleming 342: 338: 321: 304: 300: 296: 287: 279:Eric Fleming 271:Byron Haskin 244: 243: 242: 209:Running time 186:Release date 121:Eric Fleming 86: 72:Barré Lyndon 63: 52:Byron Haskin 1586:Silver City 1082:DVD Verdict 618:, states, “ 403:Vito Scotti 397:Ross Martin 391:Benson Fong 373:Phil Foster 325:flying wing 253:Technicolor 103:Produced by 48:Directed by 1737:1955 films 1731:Categories 1027:DVD Savant 812:References 449:The title 438:Production 405:as Sanella 323:the large 267:George Pal 248:is a 1955 213:81 minutes 197:1955-04-20 162:Production 155:Van Cleave 107:George Pal 64:adaptation 1714:The Power 1522:The Siren 1214:Paramount 786:(1968).” 670:The film 555:Reception 534:Collier's 514:Collier's 461:Willy Ley 316:planetoid 141:Edited by 97:Willy Ley 1650:The Boss 1427:AllMovie 1075:Archived 790:See also 771:Conquest 756:Conquest 748:Conquest 713:B movies 674:website 603:Conquest 589:Conquest 417:as Rosie 312:stowaway 250:American 226:Language 151:Music by 113:Starring 82:Based on 1578:Warpath 1457:YouTube 1441:at the 933:Miller 659:winner 608:Ben-Hur 229:English 218:Country 195: ( 164:company 1717:(1968) 1709:(1964) 1701:(1963) 1693:(1961) 1685:(1960) 1677:(1959) 1669:(1959) 1661:(1958) 1653:(1956) 1645:(1956) 1637:(1955) 1629:(1954) 1621:(1954) 1613:(1954) 1605:(1953) 1597:(1952) 1589:(1951) 1581:(1951) 1573:(1951) 1565:(1950) 1557:(1949) 1549:(1948) 1541:(1947) 1525:(1927) 1517:(1927) 1509:(1927) 1412: 1388: 1370: 1345: 1309: 1294: 281:, and 234:Budget 817:Notes 308:Bible 261:from 85:book 1410:IMDb 1386:ISBN 1368:ISBN 1343:ISBN 1307:ISBN 1292:ISBN 1000:1979 775:2001 752:2001 348:Cast 293:Plot 259:film 95:and 1455:on 1425:at 1408:at 643:" 637:to 91:by 1733:: 1380:. 1221:^ 1126:^ 1063:^ 1043:^ 922:^ 836:^ 824:^ 488:. 477:. 285:. 277:, 1485:e 1478:t 1471:v 1392:. 1374:. 1349:. 1313:. 1298:. 432:) 199:) 23:.

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index