A Morte Vem do Espaço

«Death Comes From Space» is one of those films whose good intentions and effort to create stunning visual effects, contrary to their low budget, surpass its achievements. Earth is in danger once again, because of a meteor shower that diverted to the planet, when space travel goes wrong. The main plot involves the American astronaut who went to space and a female scientist (Swiss actors Paul Hubschmid and Madeleine Fischer, respectively), who have the mission of finding the solution to save everyone. In the middle of the story, a family sub-plot interferes, but the moments of destruction are stronger, as shown on the screen, thanks to footage of natural disasters and people in danger, combined with images created by cinematographer Mario Bava, famous for creating effects and atmospheres with little. A minor and certainly rare contribution of Italian cinema in the science fiction genre, but welcome.

The actor voicing McLaren in the American version is Shane Rimmer, who also provided the voice of Thunderbird 1 pilot Scott Tracy. I win the contest!

To me, the oddest thing about this movie is McLaren's demeanor during the space flight. He looks like death warmed over, like he really really wants to go home right NOW, like he might vomit at any moment, and like he can barely bring himself to speak. Or admit that he feels like hell.

This movie is not bad enough to be a source of amusement for that reason alone. It makes a serious attempt to tell a story, and is more coherent and intelligent than some recent similar films which commanded budgets hundreds of times larger.

One problem that has long bothered most filmmakers, since the dawn of cinema, is the smoke-and-mirrors magic act itself--namely, getting big, great, creative ideas that movie watchers will be interested in and like, while getting these ideas across in as budget-conscious a manner as possible. Take this film, 'The Day the Sky Exploded', for instance (but make sure you give it back--I liked it LOL). Rome-born director Paolo Heusch (who later made the no-budget enjoyable thriller, 'Werewolf in a Girl's Dormitory') wisely utilized as much stock footage as humanly possible, and a fine cinematographer in future horror-aficionado hero Mario Bava (though his name is bizarrely misspelled in the film's credits), to credibly bring his ambitious ideas of widespread panic and civil unrest to fruition.

Mildly problematic is the dated way that women are portrayed here. Usually in older films, this isn't bothersome to me, simply because it was so widespread, and thus expected to a certain extent, but that doesn't mean it was right. For example, the only two principal women in the film are the wife of the main astronaut, who basically is left to complaining that she doesn't get enough attention from him while the world is in chaos, and a math expert, considered 'cold' because she dares to simply think about her job, who basically falls to pieces when the going gets tough (though, to her credit, she comes to her senses). And, playing the devil's advocate for a moment, it was kind of crappy that it was a Russian who went crazy and made thinks difficult for the scientists who were binding together to try and save the world. But those are minor nit-pickings.

It made me very happy to watch this valiant cinematic attempt. It left me far more satisfied than later, big-budget efforts in the area, such as 'Deep Impact' and 'Armageddon'. Some fanfare for the common man, please! =)

A multi-national space mission including astronauts from the UK, the USA and the Soviet Union venture into space but they experience technical problems resulting in the mission being aborted, but unfortunately this is just the first in a chain reaction of events which results in catastrophic disasters back on Earth, including scores of asteroids, earthquakes and extreme weather.

The Day the Sky Exploded is fairly notable for being the first Italian sci-fi movie. Having said that, this is a fairly limited claim to fame given science fiction wouldn't exactly go on to become one of the movie sub-genres that the pasta masters are most well remembered for. This one is fairly ahead of its time in some respects though and quite ambitious for its time. It also is unusual in that it showed Americans and Russians working happily together at the height of the Cold War. So, it has some interesting things about it for sure but on the whole it was pretty forgettable stuff unfortunately. Interestingly, it was also photographed by the great future directing legend Mario Bava; to be honest, the version I saw this was a public domain pan-and-scan copy in which it was difficult to really tell if it had great cinematography or not sadly.

This is significant as Italy's first science-fiction movie – two years after its first horror outing, Riccardo Freda's I VAMPIRI (1956); what connects these two films is the multi-faceted involvement behind the cameras of the late great Mario Bava. In fact, the latter was officially the film's cinematographer (curiously credited as Baja on the English titles!) but, as was his fashion, he helped out without credit in the special effects department and the direction as well – a fact also mentioned in Tim Lucas' Audio Commentary for the subsequently deleted Dark Sky DVD of Bava's KILL, BABY…KILL! (1966) and whose hearing prompted me to acquire this film sooner rather than later! Interestingly, the film's original Italian title LA MORTE VIENE DALLO SPAZIO translates to DEATH COMES FROM OUTER SPACE; this was picked up and slightly altered a few years later by another Spaghetti sci-fi entry i.e. Antonio Margheriti's LA MORTE VIENE DAL PIANETA AYTIN aka THE SNOW DEVILS (1967); besides, the film's English title was probably inspired by another contemporary sci-fi cheapie i.e. Fred F. Sears' THE NIGHT THE WORLD EXPLODED (1957)! The film under review emerges as a reasonably enjoyable and above-average entry but, probably stemming from a very limited budget, is bogged down by a talky script and much stock footage of rocket launchings and people rushing into underground shelters. The cast is also somewhat undernourished but does include Paul (Fritz Lang's Indian EPIC diptych [1958-59]) Hubschmid, Ivo (Bava's BLACK Sunday [1960]) Garrani and Giacomo (KILL, BABY…KILL!) Rossi Stuart essaying stock-types of lock-jawed astronaut, self-sacrificing professor and no-nonsense technician respectively. Equally predictable are the characters of the proud Russian expert, the astronaut's lonesome wife, the brainy female scientist, her lothario colleague and the crazed skeptic who reaches breaking-point as Armageddon looms. Nevertheless, despite – or, perhaps, because of – the lack of any really spectacular sequences (the rain of meteorites ostensibly about to annihilate mankind never pose that much of a threat since they are themselves destroyed just as they are entering the Earth's orbit!), one finds himself being charmed just the same by all these overly-familiar elements. Almost needless to say, hot on the heels of this movie came the Riccardo Freda/Mario Bava melange of sci-fi and monster movie – CALTIKI, THE IMMORTAL MONSTER (1959) – which was an altogether livelier effort...