(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“As a new star and planet hurtle toward a doomed Earth, a small group of survivalists frantically work to complete the rocket which will take them to their new home.”
Mind you, there are a good handful of truly great Science Fiction films that emerged during the 1950’s – the Golden Age of SciFi on the silver screen – and I think many ‘in the know’ would place When Worlds Collide among the most influential. Coming as it does from the efforts of George Pal – a significant contributor to the realms of the Fantastic from the bygone era – that fact alone should grant it a mention. Thankfully, there’s a bit more worth saying about its greatness and impact: at a time when genre films were just starting to concentrate on gadgets, gizmos, and giants, Collide was about the human experience.
Essentially, When Worlds Collide effectively uses the construct of the ultimate disaster movie – our Big Blue Marble is about to be pulverized by a star whose path throughout the galaxy intersects with ours – and then goes about the business of exploring the different layers of how society responds. Initially, the scientists go to bat, debating and/or debunking one another’s theory about just how dire – if at all – our Earthly predicament may be. Then, society’s benefactors step forward, trying to propose various prospects for how mankind might survive if and when an Extinction Level Event arrives at our doorstep. Lastly, chaos descends once the masses-at-large begin to see that they’ve lived out their days in vain; the Grim Reaper is on the horizon, and what do those who’ll soon fall to his mighty scythe have to show for their lives?
Along the way toward the big finish, Collide sprinkles stories of – mostly – those who valiantly made a stand and committed themselves to some form of survival. Even those who suspected they might not make the grade to escape our dire circumstances did what they could be ensure some would. Chaos still arrives in those last frenetic moments when reason gets tossed to the winds – human nature being what it is – but the story from Sydney Boehm, Edwin Balmer, and Philip Wylie never shies away from the difficult prospect of showing what a planet living out its last days could look like, be that good, bad, or ugly.
Dr. Cole Hendron (played by Larry Keating) has come to believe that our world is about to crash into a wayward star named Bellus that’s crossing our path in the Heavens, and the man risks his credibility in the international community when he announces mankind has less than a year left. Laughed at and scorned by those who argue his findings are flawed, Hendron decides that he’ll enlist some private investors to raise funds and build a spacecraft that can speed 45 survivors – our best and brightest – to the planet Zyra, a world caught in Bellus’s gravity, in hopes that something of Earth might endure past the celestial catastrophe. Though the chances are decidedly slim, he’s a man who insists we should at least try, and this is the catalyst that fuels the better part of the movie.
From this set-up, Collide efficiently demonstrates the strength of the three-act narrative structure. The premise and all necessary characters are introduced in Act One.
In Act Two, the plethora of obstacles evolving from the set-up and the characters coming together come center stage. Hendron’s daughter – Joyce (Barbara Rush) – has fallen somewhat out of love with her beau Tony Drake (Peter Hansen) and under the spell of brash pilot David Randall (Richard Derr) who isn’t expecting to survive the cataclysm but insists on doing all he can for the project. In exchange for financing critical parts of the mission, selfish business mogul Sydney Stanton (John Hoyt) tries to usurp control to suit his own personal desires. Once the gravitational effects of Bellus and Zyra are felt on Earth, lesser calamities force our heroes into action to save lives they know inevitably will be lost; and yet nothing causes them to sacrifice their humanity to do the right thing in the face of disaster.
From the film’s IMDB.com page citation:
“As a new star and planet hurtle toward a doomed Earth, a small group of survivalists frantically work to complete the rocket which will take them to their new home.”
Mind you, there are a good handful of truly great Science Fiction films that emerged during the 1950’s – the Golden Age of SciFi on the silver screen – and I think many ‘in the know’ would place When Worlds Collide among the most influential. Coming as it does from the efforts of George Pal – a significant contributor to the realms of the Fantastic from the bygone era – that fact alone should grant it a mention. Thankfully, there’s a bit more worth saying about its greatness and impact: at a time when genre films were just starting to concentrate on gadgets, gizmos, and giants, Collide was about the human experience.
Essentially, When Worlds Collide effectively uses the construct of the ultimate disaster movie – our Big Blue Marble is about to be pulverized by a star whose path throughout the galaxy intersects with ours – and then goes about the business of exploring the different layers of how society responds. Initially, the scientists go to bat, debating and/or debunking one another’s theory about just how dire – if at all – our Earthly predicament may be. Then, society’s benefactors step forward, trying to propose various prospects for how mankind might survive if and when an Extinction Level Event arrives at our doorstep. Lastly, chaos descends once the masses-at-large begin to see that they’ve lived out their days in vain; the Grim Reaper is on the horizon, and what do those who’ll soon fall to his mighty scythe have to show for their lives?
Along the way toward the big finish, Collide sprinkles stories of – mostly – those who valiantly made a stand and committed themselves to some form of survival. Even those who suspected they might not make the grade to escape our dire circumstances did what they could be ensure some would. Chaos still arrives in those last frenetic moments when reason gets tossed to the winds – human nature being what it is – but the story from Sydney Boehm, Edwin Balmer, and Philip Wylie never shies away from the difficult prospect of showing what a planet living out its last days could look like, be that good, bad, or ugly.
Dr. Cole Hendron (played by Larry Keating) has come to believe that our world is about to crash into a wayward star named Bellus that’s crossing our path in the Heavens, and the man risks his credibility in the international community when he announces mankind has less than a year left. Laughed at and scorned by those who argue his findings are flawed, Hendron decides that he’ll enlist some private investors to raise funds and build a spacecraft that can speed 45 survivors – our best and brightest – to the planet Zyra, a world caught in Bellus’s gravity, in hopes that something of Earth might endure past the celestial catastrophe. Though the chances are decidedly slim, he’s a man who insists we should at least try, and this is the catalyst that fuels the better part of the movie.
From this set-up, Collide efficiently demonstrates the strength of the three-act narrative structure. The premise and all necessary characters are introduced in Act One.
In Act Two, the plethora of obstacles evolving from the set-up and the characters coming together come center stage. Hendron’s daughter – Joyce (Barbara Rush) – has fallen somewhat out of love with her beau Tony Drake (Peter Hansen) and under the spell of brash pilot David Randall (Richard Derr) who isn’t expecting to survive the cataclysm but insists on doing all he can for the project. In exchange for financing critical parts of the mission, selfish business mogul Sydney Stanton (John Hoyt) tries to usurp control to suit his own personal desires. Once the gravitational effects of Bellus and Zyra are felt on Earth, lesser calamities force our heroes into action to save lives they know inevitably will be lost; and yet nothing causes them to sacrifice their humanity to do the right thing in the face of disaster.
The arrival of Act Three has chaos descending on even Earth’s best minds. When our day of doom arrives, those not chosen to risk a ride into the cosmos take up arms in their bid to force themselves aboard. Sacrifices are made in the frenzy, but the lottery winners finally blast off and speed on their way to Zyra, a planet that fortunately appears capable of supporting human life in what will be a new era of intergalactic civilization.
Because I’m a die-hard consumer of Science Fiction and Fantasy, I’ve no problem giving a solid thumbs up to the full experience of Collide. I recall seeing this one as a young’un and not being all that enamored with it, mostly because so little time gets spent on those things that animate a young’un’s mind. The impressive ship is only seen sparingly; and the real money shots – launching into the Final Frontier and the journey through space to Zyra – are exceedingly short. My young mind wasn’t as smitten with the human stories that make up so much of Collide – in fact, the wise old man in me only now truly understands that those worlds in collision were more about man-to-man and man-to-woman than they ever were about heavenly bodies – but I still liked it good enough.
Yes, I think the film definitely deserves its standing as being one of the flicks to emerge from the 1950’s that’s worth the attention. In fact, I’ve known for many years that director Steven Spielberg saw it as inspiration for his somewhat like-minded Deep Impact (1998). In that film, an approaching comet threatens our world; and instead of spiriting a crew off-world to survive great pains are made to utilize subterranean bunkers as a means of circumventing our downfall. But like Collide, Deep Impact is far more a drama about the human condition than it is a culmination of special effects shots meant to dazzle the mind; and both films succeed in saying something about who we are as a people and how we approach living life or the encroachment of its bitter and bittersweet end.
Lastly, it’s also worthy of note that – even though such effects work is largely limited to Collide’s last reel – the film went on to win top honors at the 1952 Academy Awards, taking home the trophy for ‘Best Special Effects.’ Yes, the bells and whistles might occupy little screen time, but they remain examples of the very best professional techniques for the era.
When Worlds Collide (1951) was produced by Paramount Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional from start-to-finish; there are some obviously dated effects – along with some underwhelming matte paintings – here and there, but nothing derails the story in any conceivable way. Lastly, if you’re looking for special features? Well, the disc boasts only the film’s theatrical trailer, so that’ll be all I have to say about that.
Highly recommended.
I’ve always argued that When Worlds Collide (1951) hasn’t quite benefitted from a strong reputation for being one of the 1950’s better Science Fiction films; and that’s because it really doesn’t look, sound, or feel like so many other signature productions. Concentrating on the human stories – and the baggage that entails – it’s a bit more low-key if not downright forgettable when matched up against such other stunning events as The Thing From Another World (1951), The Day The Earth Stood Still (1951), or The War Of The Worlds (1953) – incidentally also from George Pal. It’s far more about people than it is perils – or planetary events, anyway – and, as such, its luster story gets a bit lost in the shuffle. That’s regrettable because what’s in here works – even though it’s a bit unspectacular in spots – and I think it deserves to be rediscovered by genre fans, especially those who can forgive a bit of predictability.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive provided me with a complimentary Blu-ray of When Worlds Collide (1951) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Because I’m a die-hard consumer of Science Fiction and Fantasy, I’ve no problem giving a solid thumbs up to the full experience of Collide. I recall seeing this one as a young’un and not being all that enamored with it, mostly because so little time gets spent on those things that animate a young’un’s mind. The impressive ship is only seen sparingly; and the real money shots – launching into the Final Frontier and the journey through space to Zyra – are exceedingly short. My young mind wasn’t as smitten with the human stories that make up so much of Collide – in fact, the wise old man in me only now truly understands that those worlds in collision were more about man-to-man and man-to-woman than they ever were about heavenly bodies – but I still liked it good enough.
Yes, I think the film definitely deserves its standing as being one of the flicks to emerge from the 1950’s that’s worth the attention. In fact, I’ve known for many years that director Steven Spielberg saw it as inspiration for his somewhat like-minded Deep Impact (1998). In that film, an approaching comet threatens our world; and instead of spiriting a crew off-world to survive great pains are made to utilize subterranean bunkers as a means of circumventing our downfall. But like Collide, Deep Impact is far more a drama about the human condition than it is a culmination of special effects shots meant to dazzle the mind; and both films succeed in saying something about who we are as a people and how we approach living life or the encroachment of its bitter and bittersweet end.
Lastly, it’s also worthy of note that – even though such effects work is largely limited to Collide’s last reel – the film went on to win top honors at the 1952 Academy Awards, taking home the trophy for ‘Best Special Effects.’ Yes, the bells and whistles might occupy little screen time, but they remain examples of the very best professional techniques for the era.
When Worlds Collide (1951) was produced by Paramount Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional from start-to-finish; there are some obviously dated effects – along with some underwhelming matte paintings – here and there, but nothing derails the story in any conceivable way. Lastly, if you’re looking for special features? Well, the disc boasts only the film’s theatrical trailer, so that’ll be all I have to say about that.
Highly recommended.
I’ve always argued that When Worlds Collide (1951) hasn’t quite benefitted from a strong reputation for being one of the 1950’s better Science Fiction films; and that’s because it really doesn’t look, sound, or feel like so many other signature productions. Concentrating on the human stories – and the baggage that entails – it’s a bit more low-key if not downright forgettable when matched up against such other stunning events as The Thing From Another World (1951), The Day The Earth Stood Still (1951), or The War Of The Worlds (1953) – incidentally also from George Pal. It’s far more about people than it is perils – or planetary events, anyway – and, as such, its luster story gets a bit lost in the shuffle. That’s regrettable because what’s in here works – even though it’s a bit unspectacular in spots – and I think it deserves to be rediscovered by genre fans, especially those who can forgive a bit of predictability.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive provided me with a complimentary Blu-ray of When Worlds Collide (1951) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
RSS Feed