As a seasoned space-faring cinephile who’s been orbiting the cinematic universe since the Apollo missions, I must say that uncovering the hidden gems of science fiction is always an exhilarating journey. And boy, have I stumbled upon a doozy! Mario Bava’s “Planet of the Vampires” is not just a precursor to Ridley Scott‘s “Alien,” but a masterpiece in its own right that deserves as much recognition as the latter has garnered over the years.
1979 saw the unveiling of “Alien,” a movie that transported deep-space dread into the hearts of many viewers. Directed by Ridley Scott, this chilling exploration of psychological horror unfolded as a crew responded to a distress signal, leading to their demise. The “Alien” series has since spawned numerous sequels and built a cinematic world, captivating fans of Sigourney Weaver’s character, Ripley, and the Xenomorphs brought to life by H.R. Giger. The influence of “Alien” is immense; it even inspired aspects of “Event Horizon.” Interestingly enough, both films trace their origins back to a movie released in 1965 called “Planet of the Vampires,” which laid the groundwork for their creation.
Despite Ridley Scott’s assertions to the contrary, the resemblance between his film Alien and Mario Bava’s Planet of the Vampires is hard to overlook. Even if someone watching wasn’t aware of the claims about Bava’s impact on Scott, there are clear parallels in their storylines that can’t be dismissed. Bava’s movie, with its vibrant color scheme reminiscent of his giallo film Blood and Black Lace, and its futuristic take on space travel, makes Planet of the Vampires a distinctive piece, one that was truly visionary for its era.
Into the Far Reaches of Space and Terror
In a nutshell, the title “Planet of the Vampires” might be intriguing, but it doesn’t entirely reflect the film’s content. The original Italian title, “Terrore nello spazio, or ‘Terror in Space,’ provides a more accurate and descriptive summary. When it comes to Bava’s movie, it resonates with numerous sci-fi productions from the era, a time when creativity and style were abundant. By 1965, space exploration was still in its early stages, and depictions of what it could be like were grand and fashionable. This period saw a wide range of imaginative ideas about future space exploration, as seen in old episodes of The Outer Limits, Lost in Space, and films like Forbidden Planet.
The story revolves around a spaceship named Argos, which responds to a distress call from the mysterious planet Aura – a detail that fans of Alien will find familiar at first glance. As the Argos crew steps onto Aura’s surface, they gradually fall victim to confusion and madness, with their commanding officer, Captain Mark Markary (Bary Sullivan), eventually regaining control over himself and his team.
In the opening sequence of the movie, Bava skillfully sets up the storyline and the setting, and subtly introduces a plot device called the meteor rejector. This crucial gadget enables the Argos to land initially, and later becomes vital for their escape, significantly contributing to the climax. However, it’s essential to understand that this device serves as a means to explore the central idea of Bava’s film – the bone-chilling dread lurking in the vast, unexplored realms of outer space, the unknown that lies beyond our comprehension.
Social Commentary by Way of Science Fiction
In the eerie resemblance to Ridley Scott’s iconic Alien, the chilling concept from Planet of the Vampires resonates profoundly. Instead of an alien lifeform, the crew members in this film become mysteriously “influenced” by the spirits of the planet’s indigenous beings through their interactions with surface artifacts. This eerie plot element shares a striking resemblance with Alien, yet Antonio Margheriti masterfully leverages science fiction as a medium for social commentary, a theme prevalent in the genre during that time.
During the 1950s and 60s, various science fiction works, including old episodes of Star Trek and movies like The Angry Red Planet, provided writers and directors a means to explore themes such as xenophobia and the pervasive fear stemming from the Cold War. Notably, Planet of the Vampires offers a covert approach to discussing humanity’s self-destructive nature that persists over time. On planet Aura, the aliens aim to occupy the Argos crew due to Earth’s seemingly endless state of conflict, as they empathize with their own dire situation.
The journey of Argos delving into distant cosmic realms resonates with a common human drive for exploration and conquest in uncharted territories, reminiscent of the voyages undertaken by early maritime expeditions. For instance, during the era of wooden sailing vessels, there were numerous instances where ambition led to disastrous outcomes, such as the Franklin expedition that became trapped in the ice of northern Canada while seeking the Northwest Passage. In the infancy of exploration, there were misconceptions about the earth being flat, fears of ships falling off the edge, and legends of sea monsters devouring crews. Planet of the Vampires cleverly incorporates all these elements to its storytelling advantage.
A Unique Work from a True Visionary
By evaluating both “Alien” and “Planet of the Vampires” from the perspective of their cultural influence, it becomes clear that while “Alien” has greatly surpassed the scope of Bava’s work. The ongoing expansion of the 1979 space opera into numerous sequels, video games, comic books, and merchandise is a testament to its enduring popularity. It is also worth noting that “Planet of the Vampires” should receive equal recognition, not just for being a precursor to one of Ridley Scott’s most iconic films, but for its innovative use of science fiction to delve into societal behaviors of the 20th century.
Mario Bava, frequently lauded for his skill in creating a unique aesthetic flair and vivid use of color, delved into the human desire to explore and questioned how an alien race might perceive humanity’s tendency towards violence and control. The film Planet of the Vampires probes the ominous depths of space, mirroring our inner fears of the unknown, as it does in the cosmos and within our collective psyche. Watch it on Prime Video.
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2024-11-30 20:31