At just about the end of the first reel of this confection Julien Carette, togged out in an aviator helmet and a heavy-duty raincoat and Madeleine Sologne kitted out in a white boiler suit climb into a spherical metal object resembling a diving bell which is suspended beneath a hot-air balloon and our disbelief needs to be suspended just as firmly if we are to get anything out of this 1942 movie. The balloon carries the bell into the stratosphere and when they return to earth a couple of days later we're in the 1980s and Sologne's lover is now a senior citizen. Shortly afterwards at a ceremony in which everyone is dressed as cut-rate Liberaces the bell lights out for Venus. This time there is no dress code nor age restriction nor medical examination. The space ship boasts a cocktail bar and cocktail waitresses and in time they arrive on Venus. As an example of Occupation Film-making in France this is an invaluable time-capsule and Carette didn't know how to turn in a bad performance.
3 Reviews
Star Cruises
kinsayder5 January 2010
The European Space Programme suffers its first setback when Julien Carette opens the window of his capsule to smoke a cigarette and blasts himself and fellow astronaut Madeleine Sologne 25 years into the future. When they return to Earth it's 1967 and everyone's dressed in sparkly suits like game show hosts. An organisation, Croisières Sidérales (Star Cruises), is set up to exploit the commercial possibilities of time and space travel, and a new rocket is sent up with a cargo of passengers destined for the year 2000. Unfortunately, the accident-prone Carette is once again on board...
Fantasy and escapism were popular themes in French cinema during the German Occupation, but this was the only film that took audiences to other worlds and future times. When the movie was released, it was accompanied by a short film explaining the Theory of Relativity on which the story is (very loosely) based. This caused some problems for the director André Zwoboda, who was summoned by the Nazi authorities and asked to explain why he was promulgating the ideas of Albert Einstein, a Jew.
The set designs (by Henri Mahé, who worked with Gance) evoke the fantasies of Méliès, though the film lacks the charm and innocence of those early silents. There's some broad comedy with Carette and the other eccentric passengers clowning around in zero gravity, an underdeveloped romantic plot involving Sologne and her husband (who make an extraordinary sacrifice to level their age difference), and even a Busby Berkeley style dance number that must have eaten up half the budget.
Sadly, there's little attempt on the part of the screenwriters to engage either seriously or satirically with the ambitious ideas of the premise. When the travellers return to Earth (via a visit to some smug Venusians) the only lesson they seem to have learnt is to stop messing about with science and be happy with what they've got.
Fantasy and escapism were popular themes in French cinema during the German Occupation, but this was the only film that took audiences to other worlds and future times. When the movie was released, it was accompanied by a short film explaining the Theory of Relativity on which the story is (very loosely) based. This caused some problems for the director André Zwoboda, who was summoned by the Nazi authorities and asked to explain why he was promulgating the ideas of Albert Einstein, a Jew.
The set designs (by Henri Mahé, who worked with Gance) evoke the fantasies of Méliès, though the film lacks the charm and innocence of those early silents. There's some broad comedy with Carette and the other eccentric passengers clowning around in zero gravity, an underdeveloped romantic plot involving Sologne and her husband (who make an extraordinary sacrifice to level their age difference), and even a Busby Berkeley style dance number that must have eaten up half the budget.
Sadly, there's little attempt on the part of the screenwriters to engage either seriously or satirically with the ambitious ideas of the premise. When the travellers return to Earth (via a visit to some smug Venusians) the only lesson they seem to have learnt is to stop messing about with science and be happy with what they've got.
Everything is relative
dbdumonteil3 July 2009
"The only sci-fi movie made during the Occupation days ", "Croisières Sidérales " is another of those escape movies that were supposed to make the French forget they were under the Germans' thumb.
With the exception of the movies made by Meliès in the prehistoric times ,there are very few "space movies" (if there are any) in France .This one features scenes "in space" but the lack of means make them ludicrous;ditto for the Venus exploration,where you can breathe as easily as on good old Earth ,where the natives (a man and a woman,another Adam and Eve) speak French ,like everybody should in the universe ;sign of the times ,the two lovers choose to stay on this planet,after learning that "on Venus ,we have science but we use it in a good way ,in a way you people of the Earth don't".
The subject of the movie was the theory of relativity ,perhaps (correct me if I'm wrong) the first time screenwriters had used it for their story.But it's really a dismal attempt:although a line in the credits claims that the movie was based on scientific facts,who could believe that Madeleine Sologne and Julien Carette (Julien Carette!)are explorers of the stratosphere (and more)?
The director seems to be caught between two stools (and even three): the movie is ,in turn,dramatic (the woman meeting up with her husband ,who has become an old man),comic (sometimes unintentionally)or close to musicals (as the tourists are about to leave for the space-time mysteries, girls are singing and dancing all over the place ,as if they were in a Fred Astaire movie.)
With the exception of the movies made by Meliès in the prehistoric times ,there are very few "space movies" (if there are any) in France .This one features scenes "in space" but the lack of means make them ludicrous;ditto for the Venus exploration,where you can breathe as easily as on good old Earth ,where the natives (a man and a woman,another Adam and Eve) speak French ,like everybody should in the universe ;sign of the times ,the two lovers choose to stay on this planet,after learning that "on Venus ,we have science but we use it in a good way ,in a way you people of the Earth don't".
The subject of the movie was the theory of relativity ,perhaps (correct me if I'm wrong) the first time screenwriters had used it for their story.But it's really a dismal attempt:although a line in the credits claims that the movie was based on scientific facts,who could believe that Madeleine Sologne and Julien Carette (Julien Carette!)are explorers of the stratosphere (and more)?
The director seems to be caught between two stools (and even three): the movie is ,in turn,dramatic (the woman meeting up with her husband ,who has become an old man),comic (sometimes unintentionally)or close to musicals (as the tourists are about to leave for the space-time mysteries, girls are singing and dancing all over the place ,as if they were in a Fred Astaire movie.)
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