Destination Moon (film)

By 1949, Pal wanted to get into feature film production. He convinced the independent Eagle-Lion Films to co-finance his own two-picture deal, with him putting up half of the money. Part of the finance came from Peter Rathvorn and Floyd Odlum, who used to run RKO.[7] The first of the two films, The Great Rupert, about a Puppetoon-like dancing squirrel, starring popular comic Jimmy Durante, flopped at the box office. But his second feature, Destination Moon, was a major hit.

Eagle-Lion's publicity department saw the promotional possibilities for a film about a rocket expedition to the Moon. They promoted the film heavily in both general family magazines and in many science fiction digest magazines, emphasizing its Technicolor visuals and expert consultants. Destination Moon was constantly in the limelight of the era's popular press, including the high-profile Life magazine; by the time the film was shown in theaters, its success seemed a foregone conclusion.[8]

Pal commissioned an initial screenplay from screenwriters James O'Hanlon and Rip Van Ronkel, but science fiction writer Robert A. Heinlein contributed significantly to Destination Moon's final screenplay, also serving as the film's technical adviser. Certain story elements from his 1947 juvenile novel Rocket Ship Galileo were adapted for use in the film's final screenplay. Heinlein also published a tie-in novella, Destination Moon, based on the screenplay. The film's storyline also resembles portions of Heinlein's novel The Man Who Sold the Moon, which he wrote in 1949 but did not publish until 1951, a year after the Pal film opened.[9]

Destination Moon uses matte paintings by noted astronomical artist Chesley Bonestell. These were used for the departure of the Luna from Earth; its approach to the Moon; the spaceship's landing on the lunar surface; and a panorama of the lunar landscape.[10] An oft-noted criticism of the film is the fact that the lunar surface is crisscrossed with gaping cracks. This would imply that the surface was once mud, which requires water, and the Moon doesn’t contain water. Noted artist and Hollywood matte painter Chesley Bonestell, who painted the large backdrop that mimicked lunar crags and mountains, was unhappy with the cracks, which were designed by art director Ernst Fegté. “That was a mistake”, he insisted to Gail Morgan Hickman, author of The Films of George Pal. But Pal explained to Hickman, “Chesley was right, of course ... but we were shooting on a small sound stage because of our limited budget. We had to make the set look bigger. Chesley designed a beautiful backdrop, but it needed something to give it depth. That’s why we made the cracks. The cracks in the foreground were big and those in the distance were small, so it gave a real feeling of perspective. For some scenes we even used midgets in small spacesuits to add to the feeling of depth”.[5][6][11]

Irving Pichel began his Hollywood career as an actor during the 1920s and early 1930s, in such films as Dracula's Daughter and The Story of Temple Drake.[12] He began directing in 1932; Destination Moon was his 30th film. Pichel was blacklisted after he was subpoenaed by the House Un-American Activities Committee in 1947, despite having never been called to testify.[13] He directed five more films after Destination Moon before his death in 1954.[14]

George Pal and Walter Lantz, who created the cartoon character Woody Woodpecker, had been close friends ever since Pal left Europe and arrived in Hollywood. Out of friendship and for good luck, Pal always tried to include Woody in all his films. (On the commentary track of the Special Collector's DVD Edition of George Pal's science fiction film The War of the Worlds (1953), actors Ann Robinson and Gene Barry point out that Woody can be seen in a tree top, center screen, near the beginning of the film.)

Pal incorporates Woody (voiced by Grace Stafford) in a cartoon shown within the film that explains, in layman's terms, the scientific principles behind space travel and how a trip to the Moon might be accomplished.[15] The cartoon is shown to a gathering of U.S. industrialists who, it is hoped, will patriotically finance such a daring venture before an unnamed, non-western power can do so successfully.[16]

• Director - Irving Pichel
• Producer - George Pal
• Writing - Rip Van Ronkel, Robert A. Heinlein, and James O'Hanlon (screenplay), Robert A. Heinlein (underlying novel)
• Cinematography - Lionel Lindon (photography)
• Art direction - Ernst Fegté (production designer), George Sawley (set decoration)
• Film editor - Duke Goldstone
• Production supervisor - Martin Eisenberg
• Cartoon sequences - Walter Lantz
• Technicolor color consultant - Robert Brower
• Assistant director - Harold Godsoe
• Special effects - Lee Zavitz
• Makeup artist - Webster Phillips
• Sound - William Lynch
• Music - Leith Stevens (music), David Torbett (orchestration)
• Technical - Chesley Bonestell (technical advisor of astronomical art), Robert A. Heinlein (technical advisor), John S. Abbott (technical supervisor)

Despite a budget of approximately $500,000 and a large national print media and radio publicity campaign preceding its delayed release, Destination Moon ultimately became the "second" space adventure film of the post-World War II era. Piggybacking on the growing publicity and expectation surrounding the Pal film, Lippert Pictures quickly shot Rocketship X-M in 18 days on a $94,000 budget. The film, about the first spaceship to land on Mars, opened theatrically 25 days before the Pal feature.[4] Nevertheless, despite the literal fact that Destination Moon was indeed the second space film of the era to be released into theaters, its two years of production, hefty budget, its use of Technicolor, its significant influence in the film industry, and the technical consultation by important scientists and engineers during production—the ultimate value of the picture, also its priority, transcends the mere physical fact that it was second in the marketplace. Certainly, Rocketship X-M itself would never have been made if the highly probable success of Destination Moon had not caught Robert Lippert's attention.[6]

The film has had numerous admirers and detractors over the years.

Bosley Crowther in his review of Destination Moon for The New York Times, opined, "... we've got to say this for Mr. Pal and his film: they make a lunar expedition a most intriguing and picturesque event. Even the solemn preparations for this unique exploratory trip, though the lesser phase of the adventure, are profoundly impressive to observe".[20]

Science writer, science-fiction novelist, and early space enthusiast Arthur C. Clarke wrote: "[T]his [is a] remarkable exciting and often very beautiful film—the first Technicolor expedition into space. After years of comic strip treatment of interplanetary travel, Hollywood has at last made a serious and scientifically accurate film on the subject, with full cooperation of astronomers and rocket experts. The result is worthy of the enormous pains that have obviously been taken, and it is a tribute to the equally obvious enthusiasm of those responsible." [21]

“Trivial in plot ... viewed today Destination Moon is less than impressive; the rocket journey is ploddingly consistent with the scientific standards of 1950... Destination Moon makes rather dull viewing nowadays”. —John Baxter in Science Fiction in the Cinema (1970) [22]

In his 1979 autobiography, science writer and science-fiction novelist Isaac Asimov called the Pal film "the first intelligent science-fiction movie made".[23]

"Today it seems dated and slow-moving with flat characters". —John Brosnan in The Science Fiction Encyclopedia (1979)[24]

Peter Nicholls in The Encyclopedia of Science Fiction (1993) said, “Destination Moon is a film with considerable dignity and, in a quiet way, a genuine sense of wonder”.[25]

“The Destination Moon script seems colorless and wooden”. —Phil Hardy in The Overlook Film Encyclopedia: Science Fiction (1994)[26]

“Destination Moon now seems tame”. —John Stanley in Creature Features: The Science Fiction, Fantasy and Horror Movie Guide (2000)[27]

“The visual effects in Pal’s [Destination Moon] were art. They are aesthetically stunning ... they bear the imprint of gifted artists’ hands.... The Luna rocket of Destination Moon still [has] the capacity to astonish”. —Justin Humphreys in “A Cinema of Miracles: Remembering George Pal”, from the memorial program notes for the Academy of Motion Picture Arts and Sciences’ George Pal: Discovering the Fantastic: A Centennial Celebration, August 27, 2008[28]

In 2010, author and film critic Leonard Maltin awarded the film two-and-a-half out of four stars, calling it "modestly mounted but still effective". He also praised Bonestell's lunar paintings as being visually striking.[29]

“Destination Moon has aged badly ... [it] seems old hat and pedestrian to today’s viewers”. — Barry Atkinson in Atomic Age Cinema (2014)[30]

“But make no mistake about it, this picture, flaws and all, is a very important step in the evolution of the serious, special effects-laden science fiction motion picture that reached its peak with ... 2001: A Space Odyssey”. — Barry Atkinson in Atomic Age Cinema (2014)

Destination Moon won the Academy Award for Best Special Effects in the name of the effects director, Lee Zavitz. The film was also nominated for the Art Direction Academy Award, by Ernst Fegté and George Sawley.[31]

At the 1st Berlin International Film Festival it won the Bronze Berlin Bear Award, for "Thrillers and Adventure Films."[32]

Retro Hugo Awards: A special 1951 Hugo Award for Best Dramatic Presentation was retroactively awarded to Destination Moon by the 59th World Science Fiction Convention (2001) exactly 50 years later for being one of the science fiction films eligible in calendar year 1950.[33] (50 years, 75 years, or 100 years govern the time periods when a Retro Hugo can be awarded by a Worldcon for the years prior to 1953 when the Hugos were established and first awarded.)[34]