Robinson Crusoe on Mars

I had to beg my mom to take me to see it. Until then (in 1964), the only films I got to see in the theaters were Elvis movies and the occasional Rock Hudson/Doris Day flick. But I always had a penchant for films about space (some people say I have a head full of it). And this film represents much of what I like about a good space flick. Its all about the adventure of encountering truly daunting obstacles in the hostile environments we must face once we leave the sheltering atmosphere of mother earth. The struggle of an astronaut trying to keep his fragile human existence from being extinguished on a distant planet is the ultimate game of survival. And I think the first hour of this film, for its time, realistically tries to depict this. Probably the biggest risk the film takes is that for the first hour its a one man show, and actor Paul Mantee acquits himself well. (I remember all the talk about the movie Castaway , and how they were worried about Hanks on screen by himself for most of the movie...would people accept it? What a bunch of hooey!...if its a good story, of course they would). The second half turns into sort of a pulp sci-fi adventure , with Friday's arrival, and it does liven the film up a bit. Its almost as if you have two separate films....the fairly plausible, fight-for- survival first half, and the sci-fi fantasy second half. Somehow it still works. On repeated viewings, the things I admire most about the film (and what I think makes the film work so well) are the small touches that make the one-man show portion of the film work. The idea of having the unmanned, derelict mother ship periodically screaming across the martian night sky to haunt the astronaut is a master stroke. Not only is it a great taunt, since it has supplies but no fuel left to make a remote control landing. But it also serves as a great segue device between scenes, as are the imaginative aurora-borealis type lights that brings beauty to the nights of this hostile world. Its as if the filmmakers knew that the planet Mars had to be a costar in the film. Which brings me to probably the main reason the film has endured, and thats the brilliant cinematography by Oscar-winner Winton Hoch. A master of scenic shots (The Quiet Man, She Wore a Yellow Ribbon), Hoch makes a convincing martian landscape out of Death Valley. Almost every critique I've ever read of the film acknowledges the polished look of the martian scenes. Even recent, expensive films, like Red Planet, don't measure up (even though they may look closer to how the actual planet looks....ugly).....All in all, considering the paltry budget (just look at the old Destination Moon spacesuits used by the Alien slave masters), this is an intelligent space movie (and they are in short supply). Of course, to some extent, I realize that I still see this film through the eyes of the child I was, and I'm glad for that.

Here is a film that has endured, perhaps because the science (relatively accurate back then) does not outweigh the fiction, and the crux of the fiction is the human relationship. The script, with just a few changes, could have been made as a Western, indeed, the appearance, and many mannerisms of Vic Lundin's Friday character seems to be based on portrayals of American Indians in Westerns.

Credit has to be given first to director Byron Haskin, no stranger to Sci-Fi, having made WAR OF THE WORLDS, CONQUEST OF SPACE and FROM THE EARTH TO THE MOON in the decade before RCOM was released in summer of 1964. Interestingly, for a man who spent much of his career in the special effects department at Warners, the film does not depend on effects, in fact they may be the film's weak spot. Not that they are substandard for the era, but the repetition of shots of the alien ships in flight, and of the destruction they cause (not even taken from a different angle, or reverse printed), remind one that the film was a budget conscious production. Originally conceived by noted screenwriter Ib Melchoir for a more costly production, budget cuts mandated script revisions that were done by John C. Higgins. This was a curious decision, Higgins was more at home in film noirs that were made by Anthony Mann, this was his first and only genre assignment. To his credit, and Melchior's misgivings aside, he pared down the script to essentials, and the film in general looks like a costlier production.

Much of the films success has to be owing to the splendid performance of Paul Mantee as Kip Draper, who carries of most of the first half of the film singlehandedly. Mantee was an unknown at the time of shooting, and he only had one more lead in A MAN CALLED DAGGER, but this casting worked in the film's favor. With an unknown actor, we're not in the position to associate the performer with any other role, he becomes everyman, and we become he. We share his loss of his commanding officer, his need to discover new forms of food, shelter, oxygen, and most of all, his isolation and loneliness as he begins to realize he's not likely to leave the planet. Actor Vic Lundin does well as Friday, we originally are led to believe he is mute, and the actor's eyes and expressions convey his thoughts perfectly. While it could be carped now that the film is politically incorrect, that it is an example of imperialism that Friday learn English, rather than Draper learning Friday's language, but such points of view were uncommon in 1964. Besides, that would require the audience to learn Friday's language anyway, and the script, having Friday owe his life to Draper relieves this as a form of subservience. As the film goes on, the relationship becomes one of equals, and Friday does repay the debt by saving Draper's life.

Applause should also be given for the talents of Winston Hoch, cinematographer, for depicting a credible Martian landscape. Much of the film was shot in Death Valley, where 16 years earlier, Hoch shot John Ford's THREE GODFATHERS (he also shot the luscious photography of SHE WORE A YELLOW RIBBON as well as some of the Irwin Allen shows and movies in the 60s), but during the whole of RCOM, we can entirely believe we're on Mars. Composer Van Cleave contributed a score that unfortunately has not made its way to a home recording, but works marvelously with the mood of the film, embellishing it, but not overpowering it.

When the film was completed, Paramount and producer Aubrey Schenk were impressed enough to announce a sequel which was to be titled "Robinson Crusoe in the Invisible Galaxy" but disappointing boxoffice results quelled that project. Mantee would go on to a career of supporting roles on many TV films and episodic shows, and Haskin would come back with the excellent film THE POWER, but this was a shining moment for both of them. As with the best of Sci-fi before it, METROPOLIS, THINGS TO COME, THE DAY THE EARTH STOOD STILL, IT CAME FROM OUTER SPACE, INVASION OF THE BODY SNATCHERS or THE INCREDIBLE SHRINKING MAN, the film is a celebration of the human spirit and a triumph of collaboration among talent.

Even though this movie was made in 1964, it puts to shame the more recent (and astronomically more expensive) "Mission to Mars" and "Red Planet".

The characters act much more like real people/enslaved extraterrestrials than was common in sci-fi films of that era. Mantee is well-trained and resourceful, handling most problems (with the exception of his forced isolation) with reasonable aplomb. He is much closer to what we expect an astronaut to be than the ridiculous characters from MtM and RP.

The equipment is also a notch above the usual 60s fare, with real cables, actual dials and knobs, and that utilitarian look so common in military hardware. I have to give this film and extra half-star just for the realistic technology.

Overall, a good, solid sci-fi film from the golden age. Like many others, I'm waiting for the DVD.

*** out of *****

As we get closer to traveling to other planets, this is one story that could wind up being real. This story pretty much follows the original Robinson Crusoe story, only it takes place on another planet and not on a desert island. Paul Mantee puts in a credible performance as the astronaut who must learn how to cope without being around his fellow man. The scene that is especially interesting is when he hallucinates after getting food poisoning and seeing his dead fellow crew member. This shows the effect that isolation can have on a person and how it can drive a person mad. Luckily he did find a companion in the alien he named Friday. I recommend this film heartily.

Beautifully filmed in Death Valley, a low budget didn't hurt this fine movie, which was crafted with intelligence, wit, and imagination.

Paul Mantee stars as the survivor of an ill-fated voyage to Mars, and he plays his role with zest, humor, and gritty determination to survive despite the long odds against him.

Nicely adapted from the classic tale, this movie stands the test of time; despite its being released in 1964, it has a uniquely authentic look and feel, despite the dated hardware.

It's a good movie for the kids (they'll probably fall in love with Mona the monkey).

Best of all, this movie leaves you with a satisfied, thumbs-up smile when the ending credits roll, and lots of movies with bigger stars and more lavish budgets just don't do as well.

I rate it 8.5 out of 10