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It isn’t that uncommon for Science Fiction films to showcase a variety of artistic looks … especially when it comes to female characters.
Naturally, fandom has always gone a bit bonkers for ladies whose female attributes lend themselves to a kinda/sorta comic book aesthetic: blonde or brunette bombshells outfitted in retro-looking aluminum bikinis often rule the day, and this kind of raw sexualized energy has been the kind of thing fanboys and fangirls celebrate to varying degrees whenever they see it. While such objectification has long drawn the ire of our cultural betters – along with our parents and grandparents – Science Fiction and Fantasy enthusiasts have often looked the other way when suffering criticisms for what such adoration says about women (or men, for that matter). Why, one need look no further than the World Wide Web’s unending fascination of ‘Slave Leia’ – Carrie Fisher famously filled out that someone metal bikini in Star Wars: Return Of The Jedi – to see that a flash of skin here and there certainly captivated audiences to the nth degree.
The truth over where such a look originates – along with Science Fiction’s fascination with it – is a bit more complex.
However, 1936’s Things To Come from London Film Productions arguably serves as a foundation for some of what fandom might dub the slightly more elegant ‘Space Lady’ design. Director William Cameron Menzies helmed this cinematic adaptation of the celebrated H.G. Wells’ novel; and Google.com reports that the man worked closely alongside René Hubert, John Armstrong, and Cathleen Mann to give the character of Catherine Caball – as played by South Africa actress Pearl Argyle – an almost regal look by comparison to what 1936’s Flash Gordon would do with its ‘Dale Arden’ that same year. In fact, one could make the argument that the artistic merits of Things To Come definitely influenced the many ladies who’d appear costumed in Gene Roddenberry’s groundbreaking Star Trek (1966-1969) as well as 1976’s Logan’s Run.
Given that Things To Come explored a Utopian’s view of the Future, Caball sported an almost Greek-looking ensemble, one highlighted with flowing layers and almost royally confident shoulders. While the hemline wasn’t opposed to showcasing the actress’ natural beauty (Argyle performed as a ballerina in London and was once dubbed ‘the most beautiful woman of her generation), there was still an aura of high culture and respectability around such a display. The point here was that the future was bright, assured, and prosperous; so effort was made to guarantee that Caball looked as though she fit effortlessly into an enclave that was both fashionable and minimalist. Indeed, this is a template that the more thoughtful forays into the realms of the Fantastic would follow … but it truly got its start ninety years ago and still turns up from time-to-time almost a century later.
Chiefly, I bring this up today in celebration of Pearl Argyle’s birthday. Born on this day back in 1910 in Johannesburg, South Africa, the actress would go on to eventually establish this archetypical look in Science Fiction; and she deserves to be remembered as one of the earliest and finest examples of the highly-cultured ‘Space Lady’ amongst those who cherish such things.
-- EZ