Enquête dans l'espace

Much better than what the rating here suggests, "Spaceways" is a fine combination of science fiction, domestic melodrama, a show of force from the North, and Cold War intrigue (curiously in a quite discreet and elegant manner, without overt anti-Communist propaganda). It was skilfully directed by Terence Fisher, before his better known horror motion pictures were made, and as early as 1953 he handles the different elements in a very clever way, suggesting a darker subplot in the realm of horror cinema, than what the mystery finally turns out to be: secluded in a military-ruled modern fortress, a group of men and women carry on a space program, but things get complicated when an adulterous couple disappears as the launching of a rocket to the outer space fails. Visually attractive special effects in spite of its low budget, "Spaceways" is definitely worth a look.

Despite the disclaimers from both the director and producer, this is a fairly entertaining little movie. True, the space stuff struck me as dated, dull and not particularly interesting (aside from a shipboard explosion which is very deftly contrived), and the action is further handicapped by the colorless presence of Eva Bartok who, aside from her very last scene, does little to engage the viewer's attention. Admittedly, the script is weak in this respect and often gave me the feeling the heroine's role had been needlessly expanded simply to give Miss Bartok more screen time.

However, once the murder sub-plot rears its head and the talented Alan Wheatley makes his presence felt, interest picks up considerably. Andrew Osborn and Cecile Chevreau also deliver charismatic portrayals which help to counterbalance disappointing characterizations by Michael Medwin and (to a lesser extent) Philip Leaver. As for the hero, Howard Duff seems adequate enough, though he doesn't really pull a great deal of weight.

I must admit that, despite his cult following, I've never regarded Terence Fisher as one of the giants of the British film industry, but I thought he actually handled parts of this movie with a fair amount of savvy. Wheatley's scenes are directed (and edited) at a such an agreeably smart pace, one wishes that the Duff-Bartok-Medwin episodes were handled with at least an equal degree of expedition and dispatch.

And, despite the tight budget, I thought production values were more than adequate by "B"-picture standards.

So, all in all, I disagree with the claims of both producer Carreras and director Fisher that Spaceways has little or nothing to offer.

Much more of a melodrama murder mystery, and a not very good one, than a Sci-Fi film so a bit of a let down, it's no surprise that it was received poorly at the time of release. Eva Bartok is as always a great watch as she was a classic beauty and really suited the hair style she had in this. The interior of the space ship was impressively large especially when compared to the very cramped Apollo mission capsules. How they survived the g forces on take off while sitting on an office chair was a mystery.

Not really worth watching especially by Sci-Fi fans as not much happens Sci-Fi wise, best to skip it.

American scientist Howard Duff goes to work on a British space program. The first launch is a failure.... and two of the scientists disappear. Suspicion flls on Duff. Did he murder them?

It's a rather desultory science fiction mystery based on a successful radio script by Charles Eric Maine. Born David McIlwaine, he was a science fiction fan who published his own 'zine before the Second World War. After the war, he became a writer, publishing sf as Maine, mysteries as Richard Rayne and Robert Wade. He died in 1981 at the age of 60.

This movie is not helped by the ham-handed technical terms tossed about in tones that insisted they were very meaningful, nor the flat pace of of the editing.

1952's "Spaceways" was an early Hammer Films example of low key science fiction (Britain's first since H.G. Wells' 1936 "Things to Come"), as well as the practice of importing a Hollywood star to headline, the recently blacklisted Howard Duff supplied by coproducer Robert L. Lippert, who also provided stock spaceship footage from his own "Rocketship X-M." Dr. Stephen Mitchell (Duff) is among the leaders of a government approved research project to send an orbiting satellite into the earth's atmosphere, as a way to monitor activities all over the world. A possible security breach occurs with the simultaneous disappearance of Mitchell's wife, along with a fellow scientist with whom she was having an affair; military investigator Smith (Alan Wheatley) reaches the conclusion that Dr. Mitchell killed them both and ensured the recent failure of their latest rocket (stuck in orbit indefinitely) by draining enough fuel to allow the presence of two corpses. This 'perfect crime' scenario understandably angers Mitchell, who volunteers to prove his innocence by going up in space himself to recover the first rocket, though only mice and monkeys have previously been used as guinea pigs. Not as bad as it certainly could have been, with Alan Wheatley showing the dogged determination of Peter Cushing in his probing and eventual discovery of the truth. For those impatiently wondering if we ever blast off, well, it's saved for the final reel of this 76 minute picture. Leading lady Eva Bartok provides eye candy but not much else in the thinly written part of the female scientist who quietly loves Duff's oblivious Mitchell, only revealing her feelings after his wife vanishes. The Hungarian-born beauty was making just her sixth feature, but had earned recent acclaim in Burt Lancaster's "The Crimson Pirate" (also starring Christopher Lee), and after a decade of tabloid headlines for off screen affairs would retire from the screen following her best known genre effort, Mario Bava's "Blood and Black Lace" in 1964. "Spaceways" shows obvious signs of its radio origins from the pen of Charles Eric Maine, who later adapted his own screenplays for "The Atomic Man" and "The Electronic Monster," the final result scripted by Hollywood's Richard H. Landau and Hungarian-born British writer Paul Tabori. As a Hammer production from Michael Carreras and assistant director Jimmy Sangster, it's a pleasure to see Terence Fisher at the helm, as he also was for "Stolen Face" and "Four Sided Triangle" eventually to make his horror debut with 1957's "The Curse of Frankenstein."