Spaceways

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.

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.

Many reviewers have unfairly criticised this film for lack of accuracy in the space portion of this yarn. Well, in 1953 we knew very little about space, so that must be forgiven.

As so little was known about space in those days, the writers had to fill out a good proportion of the film with a fairly standard love/mystery story, including a nice little plot twist.

I enjoyed this film as it had good performances from all the actors. It's definitely worth a view.

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."

The title and the poster tend to set the viewer up for a large disappointment with this one, a less-than-gripping film from director Terence Fisher, laudable mostly for the fact that it was made so early in the 1950s. The story is based on a radio play by Charles Eric Maine, with a plot that smacks just a little of an Alfred Hitchcock movie.

Howard Duff plays an American scientist involved with the British space program (they actually had one of those, once). His wife is having an affair with another scientist (Andrew Osborn) who is also a spy. When both wife and lover disappear, an investigator (Alan Wheatley) suspects Duff of murdering them and disposing of the bodies by placing them in a new satellite which is sent into orbit!

There's only one way Duff can clear himself: blast off in a rocket, retrieve the satellite, and bring it back for inspection. He takes Eva Bartok (heroine of 'The Crimson Pirate') with him.

I won't divulge the ending, but it is a twist. The film's slow pace lessens the tension, and the special effects consist largely of stock footage and a few scenes cribbed from 'Rocketship X-M'. Definitely a case of the poster being far better than the movie -- but what a poster!