Robinson Crusoé sur Mars

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

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.

I've got to say this movie was ahead of its time. The story is solid, and the acting first rate. Paul Mantee portrays the isolation on Mars perfectly. The back drops and special effects are superb and don't overtake the acting. I've seen it a million times, but whenever it's on AMC or Turner I have to catch some if not all of it!!

1950's and 60's sci-fi movies can be easy targets. They were usually cheap, cheerful and woodenly acted by square-jawed male leads and big- eyed supporting women. They also reflected the attitudes, and usually the fears, of the society of the time. The heightened paranoia and fear of the unknown that plagued 1950's society was clearly reflected in films such as This Island Earth and Earth Vs. Flying Saucers, where America would be unwillingly attacked by an deadly force from outer space. Japan's post-Hiroshima movies portrayed a country under attack by horrific mutations caused by radioactivity in Japan's oceans, most famously in Ishiro Honda's quite excellent Gojira (or Godzilla), and were a massive amount of fun with a quite brutal and sobering undertone. Yet audiences and filmmakers alike seemed to lighten up in the 60's and focus less on the satire, and more on the science and fantasy aspects of the genre.

Instead of us fine Earthlings being attacked on our own doorstep by those laser-wielding bastards from outer space, we began venturing out and seeking adventure. Inspiration seemed to be taken from popular literature. Mysterious Island (1961) was (albeit very loosely) based on Jules Verne's novel, er, The Mysterious Island which followed a group of Union soldiers from Civil War-era America being washed ashore an unknown island inhabited by giant beasts. The Time Machine (1960) was an adaptation of H.G. Welles' fantastic book about a man who travels forward in time from Victorian England to encounter a very strange future world. Bringing me eventually to Byron Haskin's Robinson Crusoe On Mars, based of course on Daniel Defoe's classic novel.

Quite possibly having one of the best titles in cinema history, the film is a surprisingly effective adventure film. Two astronauts seemingly surveying the surface of Mars (played by Paul Mantee and TV Batman's Adam West, respectively) are forced to abandon ship to avoid a collision with an asteroid heading directly for them. Kit Draper (Mantee) lands successfully and begins to explore the barren landscape, only to eventually discover that McReady (West) didn't make it. The ship's pet monkey, however, did survive and joins our hero on his bid to survive this alien world.

Surprisingly, the majority of the film is a one-man show, with Mantee carrying it admirably. The film takes a serious scientific approach to his survival, as he must find ways to live without a constant supply of fresh oxygen, find a heat source, and a supply of food before his own runs out. Luckily for Draper, the air is breathable for short periods of time before he requires to take a 'booster' of oxygen, Mars' rocks seem to be able to burn, and the planet offers it's own food source in the shape of a half-plant, half-sausage thingy. Of course, the 'science' behind it all is a load of b******s, but it is refreshing to see it being taken seriously, and not ignoring it for the benefit of telling an easy story.

But where there's Mars there's going to be some of those bloody aliens, and here they seem to be in the middle of a kind of mining war with of tribe of human-shaped alien slaves. Draper rescues one during an attack and names him Friday (Victor Lundin). The two develop a comical and often rather sweet relationship, as the two attempt to mix and explain their cultures, and Friday makes an attempt to learn English (and he's an extremely fast learner!). Friday is constantly being tortured by two disc fitted around his wrists, which the aliens use to lure and physically effect Friday. When the aliens discover Draper and Friday's hiding place, they attack and force our heroes to flee.

A surprisingly slow-paced and interesting sci-fi flick that is low on cheesy action and bad acting, and high on good writing and wit. Haskin's direction is also solid, similar to his fantastic adaptation of The War Of The Worlds. Recommended for sci-fi buffs and fans of a good story. It also has Adam West and a sidekick monkey - what else do you want?

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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.