The metal worker complained that since he wasn't a stoker (by profession), it therefore wasn't his job. A cute counterfoil to that and commentary on unionized culture, was the scene at Cavor's house where the three workers argue about whose job it was to stoke the furnace. Modern folk knew the moon was lifeless, so a handy plague was needed.Įmbedded in Wells' novel, and echoed somewhat in Kneal's screenplay, was stratified, dehumanizing industrial society. In Wells' novel, the selenites are not wiped out. Kneal borrows from Wells' War of the Worlds to have the aliens all killed off by a simple earth germ. He repeats the trope of the aliens taking the protagonist's machine underground, which Wells had in The Time Machine. Kneal's script pulls in elements from a couple of Wells' other stories. He also kept Bedford returning and Cavor remaining. He kept a simplified version of the selenite civilization, and the moon cows. Kneal omitted the frozen atmosphere and fungal plant life, (as modern audiences would not buy that). Rather than modernize the tale, Kneal framed the Victorian story as a flashback within modern bookends.
Cavorite sphere model movie#
Nigel Kneal's screenplay tries to maintain much of Wells' original story, but a few concessions had to be made to make a good movie for mid-60s audiences. The portrayed fact that the first moon landing was an international effort shows a bit of optimism. There is more of Wells' original anti-imperialism message than anything of the Cold War. Harryhausen's work doesn't dominate, but enhances the alien-world feel. The matt art, scenery, sets and models are well done. Lionel Jeffries almost steals the show with his highly colorful portrayal of Cavor. Bedford quips that Cavor did have a bad cold. Quick conjecture is that some virus wiped out the inhabitants.
Cavorite sphere model tv#
TV reports that the astronauts on the moon find abandoned underground cities. Cavor fixes it, but refuses to return to earth. Bedford interrupts the Grand Lunar audience, causing a fight. Meanwhile, Bedford and Kate have reassembled the sphere, but need Cavor to get the shutters to work. Cavor's description of war alarms the Grand Lunar, who decrees that Cavor must remain on the moon to prevent more defective earthmen make the trip. He tells the Grand Lunar about earth and men. Cavor is given an audience with the Grand Lunar. The selenites are disassembling the sphere for study. The selenite scientists study Cavor and Kate, eventually learning english. They re-enter the tunnels in search, but become separated when a giant "moon cow" caterpillar beast attacks them. They return to the surface, but the sphere (with Kate inside) has been taken by the selenites. Cavor and Bedford explore, finding a labyrinth of tunnels and little insect people. Amid some mild antics en route, they arrive on the moon. Bedford's fiancee, Kate, is pulled aboard at the last minute. Bedford agrees to go with him, thinking of gold on the moon. Cavor, however, wants to explore the moon. Bedford sees the money-making potential, so attaches himself to the work. Cavor created Cavorite, a substance which blocks gravity. He rented a cottage next door to an eccentric inventor. On earth, they trace the names to an old Arnold Bedford in a nursing home. He gives the usual monster (moon cows), but brings the selenites to life.Ī modern (1960s) UN moon mission lands, only to discover a little British flag and a paper claiming the moon for Queen Victoria. FMM also features the animation of Ray Harryhausen. Two men (and a woman) travel to the moon in 1899 and encounter a civilization of insect-like beings. HG Wells' 1899 novel was adapted to a more modern retelling by Nigel Kneal (of Quatermass fame), but is still fairly faithful to the original. Additional Lobby Cards in Set 1964 was a better year for sci-fi and Columbia's First Men in the Moon (FMM) was the year's big-budget treat.
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