Apparently those costumes inspired Forrest J. Ackerman and Myrtle R. Jones to cosplay at the 1939 Worldcon.
Rock on, Morojo. I had no idea.
I can't figure out if he's hypocritically trolling all concerned, or if it all makes sense to him.
Given the depth of logic in some of the film's other arguments, I'm afraid that he's meant to be taken seriously, or at least as seriously as a straw man can be taken. Unfortunately I didn't find Cabal's relentless march to the stars any more appealing—and his metaphor of conquest is really peculiar, given how adamantly anti-war the rest of the film has been—so I threw in my sympathy with the daughter who wanted to go to the moon. I'm behind her and Roxana all the way.
(The Radio Pundit is Cedric Hardwicke, by the way. He was supposed to be Ernest Thesiger, but apparently Wells hated him and insisted he be replaced. I have no particular feelings about Hardwicke, but I love Thesiger, so I am currently feeling rather bitter toward Wells. I agree that the character feels thematically parallel to Richardson's Boss, however, to the point where I was initially surprised that he wasn't double-cast.)
The documentary that came with our copy insists that by 1936 everyone else working on the film thought the space gun was a ridiculous concept, but Wells insisted it was thematically necessary.
What was his rationale? It is scientifically stupid, especially if you've seen or even heard of the launch sequence in Frau im Mond (1929). I know Wells couldn't stand Metropolis, but that's no excuse.
no subject
Rock on, Morojo. I had no idea.
I can't figure out if he's hypocritically trolling all concerned, or if it all makes sense to him.
Given the depth of logic in some of the film's other arguments, I'm afraid that he's meant to be taken seriously, or at least as seriously as a straw man can be taken. Unfortunately I didn't find Cabal's relentless march to the stars any more appealing—and his metaphor of conquest is really peculiar, given how adamantly anti-war the rest of the film has been—so I threw in my sympathy with the daughter who wanted to go to the moon. I'm behind her and Roxana all the way.
(The Radio Pundit is Cedric Hardwicke, by the way. He was supposed to be Ernest Thesiger, but apparently Wells hated him and insisted he be replaced. I have no particular feelings about Hardwicke, but I love Thesiger, so I am currently feeling rather bitter toward Wells. I agree that the character feels thematically parallel to Richardson's Boss, however, to the point where I was initially surprised that he wasn't double-cast.)
The documentary that came with our copy insists that by 1936 everyone else working on the film thought the space gun was a ridiculous concept, but Wells insisted it was thematically necessary.
What was his rationale? It is scientifically stupid, especially if you've seen or even heard of the launch sequence in Frau im Mond (1929). I know Wells couldn't stand Metropolis, but that's no excuse.