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Tag Archive: Destination Moon


By C.J. Bunce

Outer space looks so peaceful and tranquil from the images we have received over the years from NASA astronauts.  Yet the reality of space is that it is an unforgiving place, and impossible to survive in without adequate protective gear.  Without a space suit you would lose consciousness within seconds because there is no oxygen.  Blood boils and then freezes because of the lack of air pressure.  Extreme changes in temperature would kill you one way or the other:  In sunlight temperatures reach 248 degrees Fahrenheit and in shade temperatures drop to -148 Fahrenheit.  And you’d be exposed to radiation.  Basically, no spacesuit… and you’re done for.

Above is an image of the actual space suits used by American astronauts in the 1960s and 1970s.  I grew up with stories from my dad about being on one of the recovery ships for John Glenn’s (first!) historic space flight.  I was fortunate to have worked with a NASA spacesuit on display at the National Air and Space Museum at the Smithsonian Institution on the Moon Landing’s 20th anniversary, and witnessed the three Apollo 11 astronauts speaking of their journey.  Since then I have met two other men who went to the moon.  On the one hand they are just people like everyone else.  On the other, they all realize they have done something incredible.

Harrison H. Schmitt, the 12th and last man to walk on the moon, at book launch with Elizabeth C. Bunce and C.J. Bunce.

I’ve also been lucky enough to see in person not only the several space capsules in Washington, DC, but something I never thought I’d see when I was a kid–Gus Grissom’s Liberty Bell 7 capsule, cleaned up after being found at the bottom of the Atlantic resulting from his controversial flight.  Real life space travel carries a special kind of magic, and to try to match it, Hollywood has its work cut out for it.

Gus Grissom’s restored Liberty Bell 7 module, now at the Kansas Cosmosphere and Space Center.

More than a century of science fiction has recognized the need for some travel suit or the other for space travelers of the future.  As reflected in science fiction films, costumers in Hollywood have adapted to the cutting edge science of the day to perfect the look and feel of the future for their science fiction fan audience.  But it wasn’t until the space race that the modern real space suit look was established as the standard, when costumers realized that realistic travel in space required pressurized suits, including what is obvious today, components like gloves and airtight helmets.

Whether film producers are making TV series or movies, space suits end up as a large chunk of the production budget.  Looking right costs money.  Leading the way in the future of dress in outer space was the original Star Trek series and subsequent Star Trek series.  But because of budget constraints there was a surprising lack of actual space suits on each of these series.  Even though the cast of Star Trek: The Next Generation referred to their shipwear as “space suits” on a daily basis on set, that’s not the type of gear we’re discussing here.  A chronicle of those types of suits would fill a book, from Star Trek to Babylon 5 to all the other science fiction TV series made by the Syfy Network alone.  Those typically form-fitting and more military styled suits were a much cheaper way to make a TV series that could survive financially.  Likewise, we’ll save for another day space pilot suits, like Luke Skywalker’s X-Wing fighter flight suit from Star Wars and Apollo’s Viper flight suit from Battlestar Galactica.  But even Star Trek was able to spend budget dollars on space “outer wear” over the years from time to time.

The following is a look at the change of the design of the space suit in film over the years.  Literally thousands of artists’ renderings of space suits can be found in countless covers to pulp novels, comic books, and other works, too.  Many of them influenced or mirrored the designs below, and ultimately the costume designers rarely stray from reflecting the forward looking vision of their time. Note: Please send us your updates, new images and old, suits we missed and those published since this article was written, care of editor@borg.com.

In the 1902’s A Trip to the Moon, probably the first real science fiction film, they didn’t even bother with a space suit, just the explorer’s formal dress of the day.

The dawn of sci-fi serials arrived.  In the 1950s serial Captain Video, the heroes wore basically modified football helmets and contemporary air force gear.

But Captain Video also had more futuristic garb.

In 1950’s Destination Moon, we see the first of the color-coded space walkers, a concept used as recently as in Star Trek 2009.

In 1950’s Space Patrol we begin to see a costuming theme–the multiple cuff rolls–an element that makes it to the Star Trek movies in the form of the radiological suits.

In 1951, serious science fiction comes of age with The Day the Earth Stood Still, and with it we get a peak at not what Earthlings might wear in space, but what the aliens already there wear.

In Cat-Women of the Moon (1953) we see more of the rolled armwear that would become typical of 1950s TV and film, and the glass globe found in many lesser sci-fi works.

More cuff rolls! With the comedy Have Rocket Will Travel (1959) the Three Stooges enter the Space Age.

Throughout the span of the series, The Twilight Zone featured several episodes focusing on astronauts, and made the best of a small budget, including these costumes in the episode Elegy…

… and Little People, again with the football helmet.

In 1961, no “costume” was necessary as Earth witnessed the first astronaut donning a space suit in outer space, with Yuri Gagarin’s epic flightas the first human in space.

In 1965 Lost in Space not only featured John Williams’ first sci-fi soundtrack, but cutting edge, cool space stories and characters filled the TV screen, including Dr. John Robinson’s space suit.

The TV series The Outer Limits offered up various versions of spacesuits in the early 1960s, but no performance in-suit was as memorable as that of William Shatner in the episode “Cold Hands, Warm Heart,” a realistic space suit like those worn by real astronauts.

In the 1970s one of my favorite comedic actors was Jerry Lewis. Being a kid I laughed at everything he did, and I remember not quite understanding more of the risque bits of his 1966 film with Connie Stevens about bringing both sexes together in space: Way, Way Out. It also makes me think this was the start of me thinking all space suits should be made of aluminum fabric.

My love of the silver space suits, of course, may also be because of the Mercury program space suits…

… and of the great astronaut G.I. Joe.

In 1966 the original Star Trek arrived. I’m not sure if it is truly a space suit or more of protective wear, but here is Spock sporting full gear in the episode The Naked Time.

1967 saw the first of the James Bond films addressing outer space with You Only Live Twice, with Russians in space.

In the bawdy comedy In Like Flint, James Coburn ends up in space with a silver suit… and good company

The typical bumbling Don Knotts role was even more fun in space, as seen in 1967’s The Reluctant Astronaut.

In 1968 Star Trek got real space suits instead of velour shirts, as seen here worn by the Enterprise crew in the classic episode The Tholian Web.

Upping the ante, Stanley Kubrick spared no expense to create multiple space suit variants for 2001: A Space Odyssey in 1968. Here we have that color-coding concept again.

Here is David’s red-orange suit close-up.

And the yellow version of the suit.

And 1960s camp participated in the Space Race as well, as seen in 1968’s Barbarella.

But it didn’t stay on long.

In the same year, Charlton Heston & Co. soar off in space gear to a very familar planet in The Planet of the Apes.

Tons of Doctor Who shows featured often bizarre space travel outfits.  One Doctor Who special had its own take on the space suit, here in the 1968 film Doctor Who and the Wheel in Space.  (Watch out for those Cybermen!)

In 1971, Earthlings saw Heston’s character leave in a rocket and apes return in Escape from the Planet of the Apes.

Strange goings-on for Sean Connery’s James Bond in 1971’s Diamonds are Forever.

As a big John Carpenter fan, I was surprised his early film Dark Star was so hard to watch. And he used very odd space suits.

In 1975, Space: 1999 had Martin Landau and even women astronauts in these great, orange suits, similar to the Star Wars X-Wing pilot suits filmed around the same time.

I’ve heard that NASA loaned real space suits to The Six Million Dollar Man series for at least one episode. I wouldn’t be surprised, as they look perfect.

Here Jenny Agutter is shown guest starring on an episode of The Six Million Dollar Man in a great suit.

In 1977 Capricorn One showed us what conspiracy theorists thought all along, that even the real astronauts were wearing costumes. Waterston, Brolin, and Simpson.

Strangely enough there are not a lot of space suits used in the Star Wars series since, like Star Trek, they didn’t have pressurization or other environmental concerns with their vehicles. One standout is an astronaut hanging at the Mos Eisley spaceport cantina. This photo is actually from the Superbowl ad from this year, creatures created by Tom Spina Design.

The original cantina guy in space suit.

Between 1978 and 1982, Mork & Mindy catapulted Robin Williams career. He arrived in a space suit complete with strange helmet. The series had access to the Star Trek archives and was able to use original series costumes and props.

In this episode of Mork & Mindy, Mindy’s dad wears a space suit consisting of the Star Trek original series Tholian Web space helmet mismatched with The Naked Time protective suit!

Come back tomorrow and we will continue with part 2–42 more uses of space suits in TV and movies, from 1979 to today.

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Review by C.J. Bunce

If you ever had an inkling to go to film school, if you are going to film school or if you teach film courses, Richard Rickitt’s Special Effects: The History and Technique should be required reading.  Not only is it a comprehensive work about the history and craft of special effects, it is a detailed account of the history and progress of film, and could serve as a college textbook to a master class in film technique.  And it is also a history of science and technology in its own right.

Rickitt’s Special Effects is a well-reviewed work, which is why it was purchased for me as a gift.  It is used as a college text in film schools and for good reason.  It has seen several printings since its first printing in Great Britain in 2006, including a reprint as recently as 2011, and it is as current as a nearly 400-page volume can be, including new effects technologies employed as recently as the Lord of the Rings films and X-Men 3.

Because of its price, Special Effects may not be for the casual movie enthusiast–but only because of price–as it can cost $40 for older editions and up to $230 for the most current edition.  Yet if you are really interested in behind-the-scenes cinema, it is probably worth saving for, and if you’re a college student, just slip it into your current semester’s $800 book purchase (at least that’s what I spent on each of my last few semesters for books and I can’t imagine prices have dropped–plus this book is actually a fun read you’ll hold on to).  It’s breadth is enormous, with both general and detailed coverage of landmark people and technologies from George Melies to Willis O’Brien and Ray Harryhausen to Industrial Light & Magic to Pixar and Weta.  Although it purports to cover merely Special Effects, in truth it covers the beginning of film and every technology that was created since, building upon each discovery and new invention to bring us to the complex CGI technologies of today.

This is far from a quick read, and will likely serve as a reference work or one you pull off the shelf from time to time when you need something exciting to read of the non-fiction variety.  I mentioned college text–Rickitt is a good teacher, clearly explaining in terms anyone can understand not just the “what” but the “why” and “how” of benchmarks in film with visuals and diagrams, including explanations of the role and use of technologies like the zoetrope, the parts and functions of the modern movie camera, the history and types of film recording materials, matte film, blue-screens, film printing, optical and digital compositing, the A to Z of film projection, post-production techniques like image interpolation, the use of mirrors, forced perspective and miniaturization, pyrotechnics, cloud tanks, models, motion-control photography, digital and procedural modelling, texture mapping, special effects animation, rotoscoping, 3D technologies, motion blur, digital skin, performance capture, particle systems, high dynamic range images, match moving, rendering, the A to Z of matte painting, props, make-up, prosthetics, animatronics, sculpting, inner mechanisms, performance systems, digital make-up, atmospheric effects, breakaway effects, sound recording, sound effects mixing, foleying, dialogue replacement, and the future of film technologies.

A diagram from Rickitt’s Special Effects: The History and Technique

The author uses hundreds of photographs and provides real-use examples from movies to explain techniques.  Detailed analysis is used for movie benchmarks Rickitt has identified, including The Abyss (1989), The Birds (1963), Aliens (1986), An American Werewolf in London (1981), Blade Runner (1982), Citizen Kane (1941), Close Encounters of the Third Kind (1977), Darby O’Gill and the Little People (1959), Destination Moon (1950), Earthquake (1974), The Exorcist (1973), Fantastic Voyage (1966), Forbidden Planet (1956), Forrest Gump (1994), Jason and the Argonauts (1963), Jurassic Park (1993), King Kong (1933), King Kong (2005), The Last Starfighter (1984), The Lord of the Rings trilogy (2001-2003), The Lost World (1925), The Matrix trilogy (1999-2003), Metropolis (1926), Mighty Joe Young (1949), 1941 (1979), Raiders of the Lost Ark (1981), all six Star Wars films (1977-2005), Terminator 2: Judgment Day (1991), The Thief of Baghdad (1940), Things to Come (1936), Titanic (1997), Toy Story (1995), Tron (1982), 20,000 Leagues Under the Sea (1954), 2001: A Space Odyssey (1968), The War of the Worlds (1953), Who Framed Roger Rabbit (1988), Willow (1988), and Young Sherlock Holmes (1985).

You’ll learn about ambient occlusion, beam splitters, cannon cars, color separation, depth of field, diffuse reflection, dissolves, dubbing, edge detection, emulsion, extrusion, fluid dynamics, go-motion, introvision, the Lydecker technique, morphing, NURBs, plates, ray tracing, squibs, time-lapse and time slice photography, wipes, zooms and zoptics.

An early edition of Rickitt’s book–note that earlier versions will not have the most up-to-date coverage of current technologies. The version shown at the top of this review is the most recent edition.

And along with the “what”  and “why” Rickitt profiles a “who’s who” of landmark film creators, including Georges Melies, Mack Sennett, D.W. Griffith, James Whale, Alfred Hitchcock, George Pal, Roger Corman, Irwin Allen, George Lucas, Steven Spielberg, James Cameron, Robert Zemeckis, Peter Jackson, Dennis Muren, John P. Fulton, Linwood Dunn, Richard Edlund, Dennis and Robert Skotak, Arnold Gillespie, Theodore and Howard Lydecker, Gordon Jennings, John Dykstra, Steve Gawley, Lorne Peterson, Willis O’Brien, Ray Harryhausen, Phil Tippett, John Lasseter, Norman O. Dawn, Albert Whitlock, Peter Ellenshaw, Lon Chaney, Jack Pierce, Stan Winston, Rick Baker, Ken Ralston, Cliff Richardson, Michael Lantieri, Jack Foley, Ben Burtt, Gary Rydstrom, and the Carboulds.

But you don’t need to look at Special Effects: The History and Technique as a dense book of facts.  Pick it up now and then and enjoy reading the book in 4-5 page stints and you’ll become an expert in film in no time, or just be amazed at how the magic of film works.

Special Effects: The History and Technique has a forward by Ray Harryhausen and an appendix, including a glossary of film terms and awards.