Destination Moon by Robert Heinlein

Identification Science-fiction film depicting the first moon landing

Date Released in 1950

Director Irving Pichel

Destination Moon is remembered for its reflection of early Cold War anxieties and for being the first serious cinematic treatment of spaceflight.

Key Figures

  • Irving Pichel (1891-1954), film director

In George Pal’s production of Destination Moon, an engineer and a military officer appeal to the patriotism of American industrialists to finance a secret moon flight. Their effort encounters prelaunch conspiracies and postlaunch crises that include one crew member’s drifting into outer space and another’s nearly being left behind before the craft returns to Earth.

Novelist Robert A. Heinlein , the coauthor of the screenplay, borrowed from his Rocket Ship Galileo (1947), a young-adult novel about a backyard missile used by teenagers to defeat Nazis on the moon. The ninety-one-minute film retains the characteristic Heinlein theme of strong-willed, pioneer-spirited, and patriotically minded individuals who prevail despite obstructionist government policies.

Impact

Destination Moon anticipated how, after the Soviets in 1957 launched the first artificial satellite, Sputnik, the early Cold War missile race would include the space race. Domination through weaponry was a key point of the film, a point made clear in the Life magazine article (April 24, 1950) on the movie, which specifically refers to four daring Americans who land on the moon to protect world peace. As the film’s military officer notes, those who land on the moon first will control Earth.

Winning an Academy Award for special effects, benefiting from Chesley Bonestell’s impressive matte paintings of the moon’s surface, and appealing to audience concern with national security and the arms race, this movie was a financial success despite stock characterization, stiff acting, wooden dialogue, and its documentary manner. Now considered an influential classic of golden-age science fiction, Destination Moon was far more scientifically accurate and thematically optimistic than was customary in 1950’s science-fiction cinema.

Bibliography

Hendershort, Cynthia. Paranoia, the Bomb, and 1950’s Science Fiction Films. Bowling Green, Ohio: Popular Press, 1999. Examines how America’s cultural paranoia during the 1950’s was heightened by the arms race and the depiction of that race in Hollywood films.

Warren, Bill. Keep Watching the Skies: American Science Fiction Movies of the Fifties. Jefferson, N.C.: McFarland, 1997. Provides an alphabetical list of films, each of which includes synopses, quotes, cast and director information, and special effects listings.