Watch Jules Verne's Rocket to the Moon For Free

Waste of time

Sadly Over-hyped

It's entirely possible that sending the audience out feeling lousy was intentional

The film's masterful storytelling did its job. The message was clear. No need to overdo.

A lot of people in Victorian dress fanny about while proposing to build and send a rocket to the moon.This film should be sued under the Trades Descriptions Act for several reasons.One, the title sells it as Vernian science fiction: it isn't. Sending a rocket to the moon is the furthest thing from its tiny little mind.Two, it is presented as a comedy: it isn't. That would require the script to be funny, an area in which it fails woefully.I award it points for good period detail, and a great cast who do the best the can with the poor material they have been given, with the exceptions of Troy Donahue and Daliah (not Deliah) Lavi, who both manage to be worse than the script. No mean feat.

Here is a 1967 British movie that is unsure whether it wants to be a straightforward 1890s Jules Verne fantasy, a 1960s farce or a romantic comedy. It uses the Jules Verne story as a reflection of the 1960s anxiety about the space race and the decline of Empire."Voyage to the Bottom of the Sea" and "Time Machine" are great 1960s films that remain watchable classics today. This one doesn't fall into that category at all. We see from the start that this is not just a send-up of Victorian science and engineering, but a parody of Victorian society in general. In the turbulent 1960s, the British Empire was in its death throes, and traditional British values and mannerisms were seen as fair game by movie makers.Some of the great lines: "By Jove, what a corker", "You're a cad and a bounder", "It's because of the colonies!" "Oh Grundle, what beastly hard luck" and "By George, this is splendid" (said by Burl Ives, no less). These lines were all delivered with great relish.However, the loving detail paid to these Victorian trappings adds a poignant air to it all. In the various elaborate scenes, they went to a lot of trouble to depict many different aspects of this British world in the 1890s. A British club, a Welsh village home, a picnic spread, local parades, and so on. The filmmakers seem to be saying, "Surely, it was a good thing while it lasted, even though we laugh at it now".In addition to the British self-mockery, foreigners are treated with disdain. The Americans are hucksters and pretty-boy astronauts. The French are flighty and unfaithful (but look good). The Russian is an inept spy lurking in the bushes who tries to ruin everything. The German is a mad scientist. All this is pure 1960s.Miscast Burl Ives isn't convincing as a fraudster; he plays himself: portly, amiable and handsome. Troy Donohue (at this point well into his personal and professional decline) delivers his lines with earnest woodenness. He wasn't gay, but it's hard not to snicker when Madeline cries out, "I love you, Gaylord…I love you, Henri". At points like this, the film becomes a "Carry On" farce.British comedians Terry-Thomas and Lionel Jeffries were an amusing pair. Jeffries in particular -- playing a bitter, eccentric engineer -- gets to sink his teeth into some juicy lines. By the second half they had become the villains, and played it to the hilt.It is somewhat of a rambling, disjointed movie that revolves around set-piece scenes rather than a coherent plot. There are quite a few scenes that add nothing to plot development. We spend a full five minutes, for example, watching a nervous 19th century British artillery crew prepare to fire a dangerous cannon. (Explosions gone wrong are an important theme in the movie.) Another five minutes was devoted to a chase scene involving a Frenchwoman on a penny farthing bicycle. (The filmmakers had a genuine "gas carriage" as a prop, so they made full use of it.)"Rocket to the Moon" is a silly movie that has not stood the test of time. However, it is witty and fun at times. If you like this sort of thing, you might enjoy this one.

"Rocket to the Moon" is a film that boasts some great actors and a fantastically whimsical central concept - yes, it's another of those "Victorians try to reach the Moon" stories, though this one's based on something by Jules Verne anyway, so hurrah for that. I've never read the original, so I haven't a clue which bits of the film are faithful to the book, though I'm sure comedy pratfalling wasn't high on Verne's list of priorities for narrative-inclusion. I've always loved Victoriana, and films set in the period always look sumptuous. The entire concept of the Victorian scientists trying to expand the horizons of humanity has always fascinated me. The 60's version of "The Time Machine" remains my favourite film after what must be over fifteen viewings, and even the dismal Ray Harryhausen venture "First Men in the Moon" dregs up some respectability for its early Victorian scenes with a rather excitable Lionel Jeffries (who's in this film too)."Rocket to the Moon" sometimes contains the same levels of charm and enjoyment of similar "epics", but to use a whoary old clichéd reviewer's line, the whole is less than the sum of its parts. The whole inventors bit is still terribly entertaining, and an early scene where a bridge is held together only by the initiation ceremony ribbon, which then gets cut by Queen Victoria, is good for a giggle. However, though every so often there are such delights as debating how a rocket could be propelled to the Moon ("You would need a big cannon!"), and what to do should they meet any alien life ("Chloroform!"), in between there are some long stretches of not very much happening at all, and there are one too many misfired gags. The plot goes for a complete Burton during the last twenty five minutes or so, which descends into a drawn out and utterly pointless chase scene between a vintage car and a penny-farthing. The inclusion of what is suggested to be some kind of brothel to which Deliah Lavi's character is forcibly sent also seems terribly out of place with the playful innocence of the action surrounding it ("Why are there bars on the windows?" "Oh, that's not to keep you girls in. It's to keep the gentlemen out.") There is some top-notch comedy talent on display to keep the viewer periodically entertained. Terry-Thomas, as always, gives it his best shot, playing one of his most caddish characters - in fact, at times he actually does seem quite dangerous, which can make for one or two rather disturbing scenes. Lionel Jeffries is always good value for money, and even Graham Stark succeeds at being amusing here. For me, however, a quiet and understated performance from Dennis Price steals the picture, even if he doesn't actually have any jokes per se. The scene in which he slowly discovers that Terry-Thomas has a rigged pool table is probably the best of the film, and there's a rather electric bit soon after where he attacks T-T at a club, complete with shouting and copious stick waving.However, the young leading man, Troy Donahue, is utterly wooden, and kills quite a few potentially funny lines. Comedy German eccentric Gert Frobe veers alarmingly between being hilarious ("What do we do now?" "I don't know, we've never got this far before,") and being tremendously irritating. And the less said about Deliah Lavi, the better. No, in fact, let's talk about her anyway. Maybe it's just the character she's forced to play, a bimbo who leaps into the arms of whatever young man may be nearest to her at the time. But Deliah doesn't try to give her much of a personality, and so just resembles a walking personality vacuum. The writer doesn't even seem to have bothered in giving her character any logical sense, as she appears to teleport from place to place for no reason at all except plot expediency (why the hell is she in the rocket at night for any reason other than to be discovered by T-T and Lionel Jeffries?) In the chase scene at the end she seems to acquire a penny-farthing from nowhere, and frankly just looks ridiculous - and it's painfully obvious when a double has been used in the long shots.The plot groans with the attempts to include a bit of jeopardy, and so T-T, starting off as a harmless cad, embezzling the project money, suddenly turns into a bit of a leering psycho, determined to make sure the rocket never leaves the Earth, even if to do so means killing off Troy Donahue (then again, maybe that's not such a bad idea). There's also a running gag about a Russian spy that doesn't appear to really lead anywhere, and after the first use of it (which is actually funny) should really have been dropped.I really wanted to like this film more than I did, and, indeed, on first viewing I found it a great, if a touch gentle, little feature. However, on subsequent viewings, the meandering nature of the story becomes more and more obvious, as do the number of jokes that just plain don't work. Fantastic actors appear wasted in roles that require them to change their character's personality practically every other scene - Lionel Jeffries' Sir Charles Dillworthy seems to harbour a loathing of T-T's Washington-Smythe at the beginning, then appears terrified of him, then angry, and then just willingly teams up with him by the end anyway.Overall, though the concept of the film still remains a huge attraction, and actors like Dennis Price and Terry-Thomas still make it well worth watching on a Sunday afternoon, I can't help but feel a bit disappointed with "Rocket to the Moon", which would have been better having it's plot tightened up and getting rid of a few of the longer set pieces (Gert Frobe's cannon experiments, for example). Or maybe it just needed to be a bit funnier.6/10

In the 1960s there was a new phenomenon in movie comedies: the comedy that included every known comic in the business, usually in some mad plot. America gave us IT'S A MAD, MAD, MAD, MAD WORLD,THE RUSSIANS ARE COMING, THE RUSSIANS ARE COMING!,and THE GREAT RACE. Britain gave us THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES and MONTE CARLO OR BUST. Both of those films dealt with speed contests (the 1910 London to Paris air contest, and the first Monte Carlo rally). Both had several comic actors in them (Terry-Thomas, Gert Frobe, Tony Hancock, Dudley Moore and Peter Cooke, Tony Curtis, Alberto Sordi). Then, in 1967, came THOSE FANTASTIC, FEARLESS, FLYING FOOLS (also known as ROCKET TO THE MOON). Like the other two films from England, it was a period piece, set in the 1870s. But the story is basically a transposed version of Jules Verne's FROM THE EARTH TO THE MOON. The original novel was set in Florida (oddly enough near modern day Cape Kennedy)after the American Civil War. In ROCKET TO THE MOON P.T. Barnum plans to build a "Columbiad" cannon inside a mountain in Wales, and have the moon capsule piloted by General Tom Thumb. Instead it becomes a British national issue, and a committee is formed headed by Dennis Price (the Duke of Barset - another literary borrowing, only from Anthony Trollope). Unfortunately Terry-Thomas and his business partner Lionel Jeffries are also involved in the committee, and they both see a chance to make money on this. Jeffries is the original capsule builder, but Barnum points out that Jeffries design only enables the capsule to go to the moon period. "Hold it laddy," intones Jeffries, "I was told to design a capsule to get a traveller to the moon...nobody said a word about getting him back." Jeffries is replaced. Subsequently Price discovers that Terry-Thomas has been gambling away the committee's money, and he is fired. Facing financial ruin, both men decide to sabotage the project. Gert Frobe, the inventor of the new explosive to use to send the vehicle to the moon, is a totally mad German scientist. His best moment in the film is a whimsical one. He has designed vocal semaphore devices that you speak through. This enables the two people who are communicating not to be heard and understood by anyone else, for the machines break down the words to syllables that are hard to understand. The other person, using the other semaphore (but winding it backwards)is supposed to reattach the syllables into an understandable set of words. Unfortunately, as Frobe discovers, the device does not quite work. "I can't understand a word he's saying.", a doubtful Frobe says.Actually Burl Ives and Terry Thomas have choice moments too. Ives accidentally stumbles on the site where some of Frobe's explosive is being tested, and desperately tries to break the fuse with a rock and his cane. Terry Thomas has designed an early automobile that runs on "gas" - meaning "neon" from street-lamps. Jeffries says that the whole nature of the vehicle is immoral - it runs on stolen gas! "That's not the point!", says Terry-Thomas, "It's very economical!"It is not a bad film, and can be a little enjoyable in its whimsy.