"Almost a Century-Old Movie Faithfully Depicts Space Exploration"
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“Almost a Century-Old Movie Faithfully Depicts Space Exploration”

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science fiction boasts an extraordinary history of anticipating scientific progress, foreseeing technological innovations that span from tablets to holograms, and even shaping the public’s perception of intricate scientific phenomena. Since its inception, a heated discourse has emerged among film enthusiasts and scientists concerning the scope of the genre’s scientific impact. Most prominently, sci-fi’s effect on the general understanding of intricate scientific ideas is noteworthy. This is perhaps most evident in the field of space exploration, where films like “Woman in the Moon” (1929) by the renowned Austrian director Fritz Lang have shown remarkable foresight, acting as the earliest popular depiction of various aspects from rocket countdowns and lunar orbits to the politics intertwined with contemporary space competitions.

Since Georges Méliès’ “A Trip To The Moon” hit the screens in 1902, viewers have reveled in the diverse cinematic interpretations of space travel, with iconic directors such as George Lucas, Christopher Nolan, and Stanley Kubrick aiming high. Yet, arguably no film has had as profound an impact on space travel and the public comprehension of it, as Lang’s silent masterpiece. Presently, “Woman in the Moon” is regarded as the pioneer in portraying space travel as a credible scientific undertaking. Unveiled in 1929, two years following Lang’s groundbreaking work “Metropolis” that solidified his prominence in global cinema, “Woman in the Moon” was developed with the collaboration of scientists to ensure maximum realism; a detail that some observers attribute to the film’s prohibition by Nazi Germany during WWII. Blurring the lines between a spy thriller and romantic drama, along with its adventure through outer space, “Woman in the Moon” remains an exceptional technical achievement that, nearly a century post its release, endures as one of the most scientifically accurate sci-fi films of its time.

To the moon

In the wake of the tremendous success of his earlier film “Spies” (1928), Fritz Lang embarked on his final foray into science fiction. A grand adaptation of his spouse-turned-screenwriting collaborator Thea von Harbou’s novel, “Woman in the Moon” is seemingly segmented into two parts. The initial segment plays out as a traditional spy thriller, tracing rival factions of industrialists and scientists as they deceive their way through the preliminary phases of an emerging space race. The latter part follows this motley crew of astrophysicists and fraudsters as they confront the final frontier. Throughout this nearly three-hour saga, a dramatic love triangle unfolds between scientist Wolf Helius and his aides. Concluding with a bleakness characteristic of Lang’s work, it delivers a thrilling and moving representation of the ambitions for power and its grim repercussions.

What distinguishes the film to contemporary audiences, however, is its scientific foresight. To guarantee accuracy, Lang became one of the earliest directors to enlist a team of scientists, reaching out to rocket expert Hermann Oberth, who would later play a crucial role in the development of Nazi Germany’s V-2 rocket program, and notable science journalist Willy Ley. Together, they crafted a narrative that anticipated modern space exploration, being the first film to illustrate zero-gravity, multi-stage rockets, figure-eight lunar landing paths, and g-force-laden launches. It even popularized our understanding of rocket liftoffs, complete with meticulous checklists and significant countdowns. As Lang recounted to Peter Bogdanovic in a 1965 interview included in his book “Who The Devil Made It,” the countdown was conceived out of “dire necessity” to create narrative tension (via TCM). Regrettably, the film’s realism falters once the rocket reaches the moon, portraying a breathable atmosphere, Earth-like gravity, and a surface abundant with treasures. However, the fantastical conclusion does not undermine the fact that

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