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Wonderful Movie

Sorry, this movie sucks

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

What should have been an entertaining space romp is in fact a witheringly dull melodrama featuring some of the silliest characters and widest plot holes this side of meteor crater Arizona. The professor who we are told masterminds the excursion leaves the safety of the rocket in a fit of hysteria, removing his helmet to gulp the lunar air, whilst clutching a dowsing rod. The astronauts are emotionally overwrought simpletons. The denouement involves a leaked oxygen canister supposedly meaning only two can return to Earth - despite them having breathed oxygenated moon air for the last two days. The titular woman bravely heads into space without fuss, to her credit. And there are a couple of fantastic shots which remind you that this was the man that made Metropolis, but they are lost amidst the plodding romance. Much is made of Lang's so called invention of the space countdown but you're not telling me he invented the concept of counting down from 10? I'm pretty sure we'd have worked it out without this garbage.10, 9, 8, 7, 6, 5, 4, 3, 2, 1 STAR.

Let's face it – 'Woman in the Moon' is hardly one of the great Fritz Lang's best efforts: far, far too long, badly paced, ludicrously over-melodramatic and just plain silly. Nevertheless, it contains prescient details in regards to space travel and (as should be expected) looks absolutely fabulous. Lang even made claims that this was the first film to feature a rocket launch countdown and who are we to question him? One thing you can be certain of is that going to the moon would never again look so stylish. Even though this is the tail end of Lang's classic silent period, those who love films like 'Dr. Mabuse' and 'Spies' will still find much to enjoy here.

Considering its time and conditions, it is very courageous and well designed and often considered to be one of the first "serious" science fiction films. Though some things are out of facts of today it is really an unforgettable sample and pioneer of space films in the history of cinema.It had to be more excited than Star Wars in the beginning of '20s. The types chosen are quite interesting and though it's a silent movie, the explanations are quite satisfactory enabling the movie comprehensible. For the lovers of the art of cinema, it is a film absolutely to bee seen and to be added into their archive.

Fritz Lang's final silent film is an excellent if flawed one. It seems with this particular film, of which I viewed the new DVD edition from Kino video, Lang forces his objectives on a film that somewhat is not meant for him.I can forgive the fact that there is an atmosphere on the moon and gold and that there seems to be something as flimsy as a screen door on this rocket. What bothers me with this particular subject matter is that Lang ignores the necessities. He is so interested in depicting space travel as accurately as possible, that simple questions such as what do they eat, is there a toilet on board, are not answered at all.The ending, which is dramatically satisfying, fails to answer a simple question. How the hell do Helius and Friede expect to live for the rocket to come back??? Lang's mechanic attitude is very evident as he recycles his previous plots for this film that required a more imaginative plot. The Professor, Windegger, and of course, Turner, are so useless one has to wonder how dumb Helius is in bringing the first two along. Further, the idea of gold being on the moon was a cheap idea, but how did Turner expect to get back to earth if he left everyone behind for one little bag of gold???? He wasn't a scientist.I could go on with the plot holes, but I must say I did actually like the film. The images were stunning. I think this may have had the most effective lighting of all of Lang's silents. The score that Kino added by Jon Mirsalis was terrific. But the blast-off scene was the best and seeing the struggle versus G-Forces was very effective.Fritz Lang was a great director who sometimes sacrificed his story and characters for his own cynical view of human beings. In this case, it doesn't work like it does in Metropolis and Die Nibelungen. More imagination and detail to the human element of the plot is the missing ingredient.