First Spaceship On Venus (1960 film)

Having acquired a pronounced taste for classic Eastern European science fiction movies, I recently watched First Spaceship On Venus, which is an English-language version of a East German/Polish film called The Silent Star (a literal translation of the original title).  The picture is based on a novel written by Stanislaw Lem.

The story begins when it is discovered that a "rock fragment" found in the Gobi Desert is in fact a "flight recorder" from a spaceship which has made contact with Earth.  After it is determined that the spacecraft in question must have originated on Venus, the authorities resolve to launch a mission to that planet to investigate matters further.  Once there, some startling findings are made.

Some portions of the movie have a semi-documentary flavour.  I was impressed by the fast-moving style, which is evident from the outset.  The editing and the vibrant narrative ensured that the attention of this viewer was maintained.

The message, especially in the early stages, is one of international co-operation, of mankind operating in unity to address its challenges and its hopes. I found this aspect of the film to be uplifting rather than preachy or conceited, as it is delivered with such transparency and directness.

Indeed, I was attracted by the broader ambience of the film.  The narrative felt organic and measured, and the cinematography was inventive and sharp. Of course, the special effects lived down to the standards which we expect of science fiction movies from that epoch, but they are by no means the most embarrassing or primitive which I have seen.  The diverse cast of characters on board the Venus-bound spaceship make for some interesting dynamics.

Needless to say, as a film made in Eastern Europe at the height of the Cold War, issues such as peace, nuclear annihilation and so forth assume considerable prominence.  Without giving away the plot, it seemed to me that to some extent, Venus was being held up as an example of what could occur on Earth if we do not recognise our folly.

In fairness, I was expecting more of a moralistic tone than was actually the case. The usual science fiction ruminations about the misuse of science and knowledge receive an airing, but in comparatively low-key fashion.

The one thing which surprised me was the ending, which felt vaguely lacklustre, although the part where the surviving crew members give their assessment to the assembled well-wishers is quite moving and dramatic.

So, in conclusion an intriguing and well made film, which moves along at an agreeable pace, poses some valid philosophical points unobtrusively, and does not outstay its welcome.

M (1931 film)

Just recently I saw a mention of Fritz Lang's 1931 film M, on social media.  Having been transfixed and enthralled by the same director's epic Metropolis, I resolved to watch M.

The story is set in Berlin, and centres on the hunt for a serial killer who is abducting and murdering children. At some point members of the city's criminal underworld decide to launch their own hunt for the killer, although the purity of their motives is open to question.  Peter Lorre stars as the main suspect, Beckert.

From its beginning, this film displays a great inventiveness, grittiness and attention to detail, with much intriguing imagery and symbolism.  The opening scene, in which some children are singing a "chant" about the murder of children, is rather chilling and powerfully but subtly presented. There can't have been too many films tackling such dark and challenging subject matter in the early 1930s.

Peter Lorre is never less than compelling in the role of Beckert, and his "monologue" towards the end of the movie is both gripping and harrowing.

M has some interesting sub-texts, among which are society's attitudes towards children, the rule of law and the decencies of civilization. I interpreted one of the film's messages as being that some people are ambivalent about even such terrible crimes, and more worried about how their own private interests might be affected, whilst others exhibit an unpleasant ferocity and hysteria, shedding their powers of reason.

It is fascinating to note that even in 1931 it is posited that criminal cases have become media events, although back then of course the main medium was the newspaper.  The paranoia and distrust engendered by the murders is cleverly portrayed, accentuated by the generally dark tone and the sets.

One thing which occurred to me whilst watching this picture was a slight parallel with Erich Kastner's Emil and The Detectives. In that novel a group of youngsters try to solve a crime themselves. Here, the criminal elements do a similar thing, assisted by various locals, including beggars. Whether the similarity is significant I genuinely have no idea, but the two stories do appear to have been written around the same time.

I found M to be a highly absorbing film, cleverly conceived and asking some unsettling questions about modern society and human nature. Apparently Lang regarded this as his favourite among his own films, and that in itself is high praise indeed.