MOON ZERO TWO (1969) Review
Who?
Director: Roy Ward Baker
Producer: Michael Carreras
Screenplay: Michael Carreras
Cast: James Olson, Catherina Von Schell, Warren Mitchell, Adrienne Corri, Ori Levy, Dudley Foster, Bernard Bresslaw, Neil McCallum, Joby Blanshard, Michael Ripper, Robert Tayman, Sam Kydd, Keith Bonnard, Leo Britt, Carol Cleveland, Roy Evans
How?
In 1967 Gavin Lyall, Frank Hardman and Martin Davison submitted a story to Hammer which was basically a Western set in space. Western fan Michael Carreras took to it, but it took well into 1968 before Hammer were able to secure financing from Warners for what was to be one of their biggest budgeted projects - although not big enough as was to become apparent. While Jimmy Sangster was the preferred writer and producer it eventually fell to Michael Carreras, who brought in Roy Ward Baker to direct after the wonderful job he'd done on Quatermass and the Pit (1967). American actor James Olson, known mainly for his TV work, was brought in to star (presumably to give it a Western flavour) as well as the little-known Hungarian actress Catherina von Schell (who would go on to TV fame in Space: 1999), Adrienne Cori (later in Vampire Circus (1972)), Bernard Bresslaw (who had last appeared for Hammer in the flop The Ugly Duckling (1959)) and Warren Mitchell (another return to Hammer following his last appearance in Curse of the Werewolf (1961)). Shooting took place at Elstree, apart from the special effects, which were shot at Les Bowie's facility.
What?
In the year 2021 the Moon has been colonised and much of it leased to prospectors. It's only large colony, Moon City, has the feel of a Wild West frontier town. Bill Kemp (Olson), a former commercial space pilot, now flies a beaten-up shuttle, Moon Zero Two, on salvage trips from Moon City. Faced with being grounded by the local police (Corri) because of the dangerous state of his ship, Kemp agrees to fly an illegal mission for wealthy J.J. Hubbard (Mitchell) - to intercept a passing asteroid composed entirely of sapphire and crash land it on the moon. In return he will receive a new ship. Meanwhile he encounters newly-arrived Clementine (Schell) who has come to the moon in search of her missing brother Wally, a prospector on the far side. Kemp agrees to fly her to her brother's claim to discover what has happened to him. Unknown to them, however, is that Hubbard is connected to Wally's disappearance, a fact he will do all in his power to prevent Kemp and Clementine from finding out; and he will make sure at all costs that Kemp completes his side of the deal.
So?
Moon Zero Two, Hammer's only attempt at a space opera, is another unfortunate example of a film that could have been very good, if only they'd had the right money to spend on it. But they didn't. And it shows. Michael Carreras once again had grand, epic ideas that the company simply couldn't pull off. Released in the wake of 2001: A Space Odyssey (1968) and the Apollo moon landing, Moon failed to match either the excitement of reality, or the grandeur of Kubrick's epic (and the UK poster art did it no favours - promising much more than it could possibly deliver). However, Moon should not be judged too harshly - it is by no means a bad film, and over time an affection has grown for this campy classic. Conceived, and marketed, as a 'space Western' Moon has many of the attributes of that particular genre - the wild frontier town, the prospecters, the sherriff, the rich evil landowner, the saloon, the gunfights, the dancing girls...the list goes on. Transfer it all into space and Bob's your uncle. An inspired idea, and one that would surface again in aspects of Star Wars (1977). And in fact, the basic plotline is not a bad one at all; it just in it's execution where Moon falls down.
But since SF films are often (unfortunately) judged primarily on the quality of their special effects, let's get that out of the way, shall we? Are they any good? Well...no. But if we bear in mind the miniscule budget Moon had to spend on them, then I have no qualms in saying that Moon's effects are actually not that bad. Les Bowie basically performed wonders with the money that he had. Yes they look like models, but they look like good models. And in a perverse way the effects actually add to the appeal of Moon. And the costumes (groovy!). And the sets (cosmic!). And the...well, you get my drift. For Moon is a film you simply cannot take seriously. If you do, you won't enjoy it. Moon is fun because it takes itself so seriously! Carreras' screenplay attempts to be epic on a Western scale, but is so po-faced, leaden and riddled with plot holes that it just brings a smile to your face seeing the actors struggling through, and losing the will to live en route. Baker, a good director, just doesn't have the lightness of touch here to play along with the audience. He must have known it was a poor film, and yet his direction matches the screenplay - po-faced and leaden. Indeed 'po-faced and leaden' just about covers the entire cast as well! The only one with a spark of life in the whole affair is Olson's sidekick, a porn-mustachioed Ori Levy.
The bar dancers (the Go-Jos!) give it their best shot in a variety of outfits (groovy!) but their heart really isn't in it, bless 'em. Olson and Schell are on autopilot, Corri's not far behind, Mitchell's the most unthreatening baddie in the history of threatening baddies, and Bresslaw - well, the casting director must have been on something that day! Now, all this might make you wonder if I really do like Moon? Well, yes, I do. For all its tacky, plastic, wooden, ubsurd, silliness - I love it! Indeed, it's because of that that I love it. How can you not love a film where zero gravity means walking verrry...slooowly. Where Schell gets to show off the weirdest space undies ever invented? Where a 'futuristic' vending machine is actually a step backwards?! Where... I could go on, but I won't spoil the delights of Moon for those yet to experience it. From its opening cartoon titles (which must have eaten a wodge of the budget and are totally at odds with what the film intended to be!) to its annoyingly catchy theme song, Moon is a joyous 1960s vision of what the future would hold - glittery wigs, stupid hats, and games of Moonopoly. And no, that's not a spelling mistake. Bring it on!
.jpg "MOON ZERO TWO (1969)") |
| MOON ZERO TWO (1969) |
Who?
Director: Roy Ward Baker
Producer: Michael Carreras
Screenplay: Michael Carreras
Cast: James Olson, Catherina Von Schell, Warren Mitchell, Adrienne Corri, Ori Levy, Dudley Foster, Bernard Bresslaw, Neil McCallum, Joby Blanshard, Michael Ripper, Robert Tayman, Sam Kydd, Keith Bonnard, Leo Britt, Carol Cleveland, Roy Evans
How?
In 1967 Gavin Lyall, Frank Hardman and Martin Davison submitted a story to Hammer which was basically a Western set in space. Western fan Michael Carreras took to it, but it took well into 1968 before Hammer were able to secure financing from Warners for what was to be one of their biggest budgeted projects - although not big enough as was to become apparent. While Jimmy Sangster was the preferred writer and producer it eventually fell to Michael Carreras, who brought in Roy Ward Baker to direct after the wonderful job he'd done on Quatermass and the Pit (1967). American actor James Olson, known mainly for his TV work, was brought in to star (presumably to give it a Western flavour) as well as the little-known Hungarian actress Catherina von Schell (who would go on to TV fame in Space: 1999), Adrienne Cori (later in Vampire Circus (1972)), Bernard Bresslaw (who had last appeared for Hammer in the flop The Ugly Duckling (1959)) and Warren Mitchell (another return to Hammer following his last appearance in Curse of the Werewolf (1961)). Shooting took place at Elstree, apart from the special effects, which were shot at Les Bowie's facility.
What?
In the year 2021 the Moon has been colonised and much of it leased to prospectors. It's only large colony, Moon City, has the feel of a Wild West frontier town. Bill Kemp (Olson), a former commercial space pilot, now flies a beaten-up shuttle, Moon Zero Two, on salvage trips from Moon City. Faced with being grounded by the local police (Corri) because of the dangerous state of his ship, Kemp agrees to fly an illegal mission for wealthy J.J. Hubbard (Mitchell) - to intercept a passing asteroid composed entirely of sapphire and crash land it on the moon. In return he will receive a new ship. Meanwhile he encounters newly-arrived Clementine (Schell) who has come to the moon in search of her missing brother Wally, a prospector on the far side. Kemp agrees to fly her to her brother's claim to discover what has happened to him. Unknown to them, however, is that Hubbard is connected to Wally's disappearance, a fact he will do all in his power to prevent Kemp and Clementine from finding out; and he will make sure at all costs that Kemp completes his side of the deal.
So?
Moon Zero Two, Hammer's only attempt at a space opera, is another unfortunate example of a film that could have been very good, if only they'd had the right money to spend on it. But they didn't. And it shows. Michael Carreras once again had grand, epic ideas that the company simply couldn't pull off. Released in the wake of 2001: A Space Odyssey (1968) and the Apollo moon landing, Moon failed to match either the excitement of reality, or the grandeur of Kubrick's epic (and the UK poster art did it no favours - promising much more than it could possibly deliver). However, Moon should not be judged too harshly - it is by no means a bad film, and over time an affection has grown for this campy classic. Conceived, and marketed, as a 'space Western' Moon has many of the attributes of that particular genre - the wild frontier town, the prospecters, the sherriff, the rich evil landowner, the saloon, the gunfights, the dancing girls...the list goes on. Transfer it all into space and Bob's your uncle. An inspired idea, and one that would surface again in aspects of Star Wars (1977). And in fact, the basic plotline is not a bad one at all; it just in it's execution where Moon falls down.
But since SF films are often (unfortunately) judged primarily on the quality of their special effects, let's get that out of the way, shall we? Are they any good? Well...no. But if we bear in mind the miniscule budget Moon had to spend on them, then I have no qualms in saying that Moon's effects are actually not that bad. Les Bowie basically performed wonders with the money that he had. Yes they look like models, but they look like good models. And in a perverse way the effects actually add to the appeal of Moon. And the costumes (groovy!). And the sets (cosmic!). And the...well, you get my drift. For Moon is a film you simply cannot take seriously. If you do, you won't enjoy it. Moon is fun because it takes itself so seriously! Carreras' screenplay attempts to be epic on a Western scale, but is so po-faced, leaden and riddled with plot holes that it just brings a smile to your face seeing the actors struggling through, and losing the will to live en route. Baker, a good director, just doesn't have the lightness of touch here to play along with the audience. He must have known it was a poor film, and yet his direction matches the screenplay - po-faced and leaden. Indeed 'po-faced and leaden' just about covers the entire cast as well! The only one with a spark of life in the whole affair is Olson's sidekick, a porn-mustachioed Ori Levy.
The bar dancers (the Go-Jos!) give it their best shot in a variety of outfits (groovy!) but their heart really isn't in it, bless 'em. Olson and Schell are on autopilot, Corri's not far behind, Mitchell's the most unthreatening baddie in the history of threatening baddies, and Bresslaw - well, the casting director must have been on something that day! Now, all this might make you wonder if I really do like Moon? Well, yes, I do. For all its tacky, plastic, wooden, ubsurd, silliness - I love it! Indeed, it's because of that that I love it. How can you not love a film where zero gravity means walking verrry...slooowly. Where Schell gets to show off the weirdest space undies ever invented? Where a 'futuristic' vending machine is actually a step backwards?! Where... I could go on, but I won't spoil the delights of Moon for those yet to experience it. From its opening cartoon titles (which must have eaten a wodge of the budget and are totally at odds with what the film intended to be!) to its annoyingly catchy theme song, Moon is a joyous 1960s vision of what the future would hold - glittery wigs, stupid hats, and games of Moonopoly. And no, that's not a spelling mistake. Bring it on!
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