Terrore nello spazio

Plot synopsis:
In the far reaches of outer space, two spaceships crash land on a uncharted, fog-enshrouded planet in response to a distress signal. During the course of the landing, both crews undergo a strange transformation. In a semi-hypnotic state, the crew of the Galliott savagely kill each other off. The only thing that prevents the Argos' crew from doing the same thing is Captain Markary (Barry Sullivan)'s resistance to the power that has overtake the others. Following some initial mayhem, Markary successfully manages to shake the others out of their trances. Not realizing that the other crew of the other spaceship is entirely decimated, the captain and several others make their way across the strange, uninhabited landscape, which is awash with bright colors and swirling mists, to see if they can be of any help. To their horror, the find the entire crew of the Galliott, including Markary's younger brother, to be dead.The men bury several of the bodies, but as most of the Galliott's crew are sealed into the control room, Markary and his men return to the Argos to retrieve the tools necessary to break through the doors. By the time he returns, the bodies in the control room have disappeared. The control room doors are now open, and all signs of violence has been erased. Only a puddle of blood, discovered by Wes (Angel Aranda), remains, but it is enough to convince Dr. Karen (Fernando Villena) that the captain did not imagine his macabre discovery. The crew return to the Argos thoroughly mystified by their situation. Soon after they leave, the grave markers start to shift outside the Galliott, heralding the return of the undead astronauts.Strange events begin to transpire. Though both ships were guided to the planet, no sign of life presents itself. Tiona (Evi Marandi), one of the crew persons, swears to Markary that she has seen some of the dead men from the Galliott walking nearby. Dr. Karen tries to assuage her fears that some unearthly force is at work, but soon even the captain is convinced that if there is any form of life on the plant, it is their enemy. The surviving crew attempts to leave the planet, but the damage done to the ship makes it impossible. Wes tells Markary that they will have to wait at least two days before the damage can be repaired.As more astronauts are mysteriously killed, tension among the crew continues to grow, and although Markary puts on a brave face, he confesses in his diary that he fears for the worst. During a land survey, Wes discovers another ship just a few miles from the Argos. Markary, together with Sanya (Norma Bengell) and Carter (Ivan Rassimov), walk over there to investigate the alien ship. Finding the calcified remains of the former crew, they determine that they are not the first ship to be lured into this trap. Narrowly avoiding being entombed in the interior of the ruined ship, Markary and Sanya escape back to the Argos, where they later find that Carter has mysteriously disappeared.Soon after, Kier (Federico Boido) and Sallas (Massimo Righi), two apparent survivors of the Galliott, appear at the Argos. Dr. Karan and Markary are both worried by their peculiar behavior and by the fact that neither one can explain where they have been since the landing. Karan observe that there is no disputing the fact that they are alive, to which Markary responds so it seems. Hearing this, Tiona reminds the captain the nothing is really what it seems on this planet. To set her mind at ease, Markary has several of the graves opened. In each one, nothing is left but the transparent plastic funeral shrouds in which the bodies were interred.Later that same night, Kier and Sallas are caught stealing a meteor rejecter from the control room. Though Kier is able to escape with the rejecter, Markary captures Sallas. Sallas real identity is revealed when the captain accidentally tears open the top of his uniform, revealing the body to be a mess of rotting flesh and exposed bone. 'Sallas' reveals that he is actually and alien being making use of the dead man's body. He goes on to tell Markary that since their sun has burned out, the planet is becoming uninhabitable, and that they are desperate to escape before they too perish. It is therefore necessary that they take possession of the astronauts in order to exist in a different atmosphere. 'Sallas' assures Markary that resistance is useless saying either all of us go back, or none of you will get there. The captain replies that he and his crew are willing to die in order to save their world, prompting the alien to vacate Sallas dead body. Markay realizes that one of power accessed through conformity. In order to maintain absolute control, it is necessary for the parasites to take posession of the entire crew, so as there is the slightest danger of rebellion, their control if thwarted.In a race against time, Markary and the final few survivors, whom include Sanya, Dr. Karan, and Tiona, go to the Galliott to retrieve the meteor rejecter, while Wes stays behind to guard the Argos. Markary decides that in order to ensure the destruction of the aliens, he plants a large explosive device on the Galliott while Sanya makes off with the meteor rejecter. But Dr. Karan and Tiona are killed in the subsequent battle with the re-animated astronauts. Markary and Sanya make it back to the Argos. The ship takes off with the three survivors just as the Galliott explodes.With the meteor rejecter in place, everything seems to be fine. But Wes is frightened by Markary's strange behavior. He confides his fears to Sanya, and together they confront the captain. Unfortunately for Wes, both Markary and Sanaya are now possessed by the alien beings. They offer to let him live in exchange for helping them fly to their home planet. Like Markary before him, Wes assures them that he would rather die than submit to them. Before being killed, Wes destroys the meteor rejecter.Without the meteor rejecter, the possessed Markary and Sanya realize that there is no way for the Argos to make it home. Instead they decide to stop at a closer planet less then a light year away. They are going to land on a strange planet called Earth, revealing that the astronauts are in fact not human at all, but from another distant planet. 'Sanya' tells 'Markary' that Earth is so small and thousands of years behind their planet in technology that its not even listed on most navigation charts since its population doesn't have the resources to travel beyond their planet. 'Sanya' asks 'Markary' how he thinks the people of Earth will react to them. "I hope well... for them," he sneers.

Tags: murder

Review:
For those who -- like me -- purchased the HBO Video version on VHS, don't worry: The original spare-but-effective electronic score has been restored, instead of the "updated" abomination that made the VHS print almost unwatchable.Although I've never heard Dan O'Bannon acknowledge it, certain elements of this film must have been in his mind when he was working on "Alien": Two spaceships are drawn to an eerie, fog-shrouded planet by a mysterious radio signal, then snatched from orbit by an irresistible force.
There's even a scene where Barry Sullivan and Norma Bengell investigate an ancient, derelict alien spacecraft, complete with giant skeletons (any of this sound familiar?)The set designs -- the cavernous interior of the spaceship and the appropriately alien fixtures of the derelict -- are some of the best you'll find in any pre-1968 science fiction film.
While this movie may disappoint fans of director Mario Bava who are more familiar with his horror films, as a science fiction film buff I rate it a solid 7..
Considering this is an Italian production of the mid-60s, director Bava infuses some real originality into his story, taking a 1950s crew of square-jawed astronauts and forcing them to confront the future of horror: a horde of gore-streaked zombies, an omnipresent supernatural force invading the crew's minds, and a nihilistic ending.
When the living dead begin stalking the pitted, fiery surface of the planet, intent on killing the astronauts, Bava effectively uses the new horror icons of fear: not of fear, but of zombiefication, of characters who could be us, once just human, but now horribly returned as mutilated living corpses set to kill friends and family.
Astronauts land on a mysterious planet and encounter many strange and dangerous things--like bodies that don't stay dead.This Italian movie has horrendous dubbing (except for American Barry Sullivan), silly "special" effects and truly laughable, comic book level dialogue.
"Terror in Space" (I try to avoid using the most popular a.k.a "Planet of the Vampires" as it is quite misleading) is a very creative and trend-setting sci-fi milestone from the hand of the almighty Mario Bava.
Bava emphases this neatly with the use of fogs and ominous sounds The ending is brilliant as well and it fits perfectly in the apocalyptic/paranoia/takeover trend that ruled in sci-fi plotting around that time.I know this film will definitely not appeal to the new generation of sci-fi buffs who're only impressed by boisterous alien-fights but if we, Bava fans, can only get them to realize that THIS was a fundamental film for the further development of the genre!
With just a small budget, some below average actors and a few sets; Mario Bava has succeeded in creating a great sense of claustrophobia in a very atmospheric little horror flick.The film plays out like an episode of Star Trek, with two teams of astronauts landing on an alien planet that is inhabited by hostile beings.
The second crew aren't so lucky...Planet of the Vampires is a very campy film, most of which is brought on by the acting and cheap looking effects, but it does have several plus points, one of which is it's great atmosphere.
As Bava would later go on to do in the horror classic; Baron Blood, he uses smoke and small spaces to create a sense of tension and build the film's atmosphere.
It was obviously made on a low budget, the dialog dubbing is bad (although far superior to some other Italian imports I have seen), the acting alternates between wooden (Barry Sullivan) and outrageously overdone (i.e., "gravity effects", the reaction of the actor who smashes the "meteor deflector", numerous fear reaction shots of crew members).
The spaceships Argos commanded by Captain Mark Markary (Barry Sullivan) and her sister Galliot commanded by Captain Sallas (Massimo Righi) travel to the mysterious planet Aura to investigate a strange transmission of a distress signal.
Its original Italian title is (translated) "Terror in Space," which is better than the American title "Planet of the Vampires" (also "Demon Planet") seeing as how there are no blood-sucking vampires anywhere to be seen.THE STORY: Barry Sullivan commands a spaceship that goes to a strange unknown planet in response to a distress call from another ship.
They soon discover that the creepy planet is home to incorporeal aliens who desire their bodies and ship to leave the planet.Although "Terror in Space" came out a year before the original Star Trek appeared on television, both the film and Star Trek borrow heavily from concepts introduced in the ground-breaking "Forbidden Planet" (1956).
And the second pilot "Where No Man Has Gone Before" was filmed at about the same time as "Terror" in 1965.POSITIVES: I've heard a lot of good things about this film over the years, in particular the ultra-cool black leather uniforms with Nazi-like emblems and the atmospheric creepiness of the planet, and was not disappointed.In addition, the film features two women -- a redhead and a blond -- as prominent figures in the crew of the spacecraft, a notable thing for 1965 (although keep in mind that Gene Roddenberry featured a female first officer in "The Cage" a year before).
In defense of "Alien" Scott did take these concepts and made a BETTER sci-fi/horror picture.NEGATIVES: The film is from 1965 and therefore has dated sets and effects, comparable to the original Star Trek TV series.
I had long wanted to watch this solitary foray into sci-fi territory by the great Bava: however, even if the film was released on R1 DVD (now OOP) and I had actually owned a copy of the slightly different English-language version (in Pan-and-Scan!) on DivX for some time, I'm glad I waited to catch it for the first time via the Italian original; just for the sake of comparison, my viewing of the R2 DVD was followed with that of the DivX  and, for all kinds of reasons, the former blows the latter out of the water!
To begin with, something about the English title: the aliens/monsters here are actually more zombies than vampires (the fact that one never knows who can be trusted also links it with both INVASION OF THE BODY SNATCHERS [1956] and THE LAST MAN ON EARTH [1964]); hence, the original title  TERRORE NELLO SPAZIO, i.e. TERROR IN SPACE  is preferable, not only because it's more literary but it also lends mystery to the proceedings (as the threat inherent in the plot line isn't categorized from the get-go).
Curiously, Ib Melchior is credited as co-screenwriter on both the Italian and English versions; early on, there's an overuse of nonsensical technical jargon (which, in hindsight, takes away some of the surprise element from the ending!), but this is thankfully downplayed in the film's latter stages.Of course, this being Bava, the look of the film  actually similar to FORBIDDEN PLANET (1956), it may well have inspired ALIEN (1979; with which it also shares much of the main theme)  is essential, and quite remarkable when considering the low-budget the director had at his disposal: the sets  economical but undeniably stylish  are very interesting, as are the various props on display (that giant skeleton from an earlier civilization discovered on the planet is awesome); while obviously modest, the visual/make-up effects are handled with great care and creativity; the camera-work features an odd choice of angles mingled with Bava's typical zooms; the pacing is generally terse but every opportunity to create mood and generate suspense is milked for all it's worth; ultimately, the film's color scheme is so rich that one is almost tempted to turn off the audio and just allow himself to be immersed in the visuals!
However, we also get a slightly confusing climax (where the various characters become interchangeable due to their identical space-suits, especially when pursuing one another among the rocks)  but this is more than made up for by the double-twist at the end (the first inspired, once again, by BODY SNATCHERS and the other deliciously chilling).As for the differences between the two versions of the film: the English-language edit has new and bland opening/closing shots, while some dialogue is either different or missing entirely; worst of all here is Kendall Schmidt's horrid electronic score (which, reportedly, had been added to the film by Orion and wasn't ported onto the R1 DVD); on the other hand, the Italian print contains some minor extended bits  but it's superior chiefly because of the more natural-sounding dubbing job.
They bury the dead they find and set out to explore the vast wasteland, but Tiona (Evi Marandi) keeps having visions of the walking dead.Though far more experienced in horror, gialli and sword-and-sandal pictures, the great Mario Bava turns Planet of the Vampires into the most gorgeous sci-fi of its era.
Okay, the story of two spaceships landing on a planet to investigate a strange radio signal is memorable but goofy, the acting is awful, the costumes cheesy, the sci-fi concoction harks back to Forbidden Planet and other films.
This new planet is aptly called 'Aura', it's an aural effect he's after.Here is where Bava in his capacity as engineer can try out a few cool experiments.a haunted house movie in space, in the trapdoor scene.the alien skeleton and ship, last remnants of ancient visitors.space zombies rising from tombs (someone at AIP decided these were vampires but that's not said anywhere in the film).the planet is inhabited by unseen - spectral - entities with the power to control gravity and the mind, who 'take over' their human hosts in the vein of the Body Snatchers film.all of this anchored in two spots, the device that makes 'space travel' possible as a binocular thingamajig, a cinematic device for seeing; and the shift to 'auran' consciousness happens during sleep.All this elucidates the way Bava works - story as separate from visual imagination, the latter clean, static, painterly; and the notion that for any of this to work, it has to be a dream that you slip into whose aura overwhelms the conscious mind.
Fourteen years after "The Planet of Vampires" (aka Demon Planet), Ridley Scott would create one of the most frightening and densely layered science fiction/horror films in history that he titled, "Alien." The strong suggestive set design and atmospheric elements from "The Planet of the Vampires" would re-appear in "Alien." Script plots from the original Star Trek television series that began its run in 1966, two years before, are nicely incorporated into this serious attempt at science fiction/horror.
Mario Bava's Planet of the Vampires is one of the films credited as being a major influence on Ridley Scott's Alien (1979), and it's easy to see why: there are numerous scenes and elements that are very similar to those in Scott's movie (albeit with a distinct '60s Euro sci-fi flavour).
Bava's movie isn't on a par with Alien in terms of overall quality-the movie suffers a little from its low budget and it treads water for a long while-but its sense of style and originality still makes it a lot of fun for those who enjoy retro sci-fi/horror.The film starts as the crew of the spaceship Argos (a horseshoe shaped craft, much like the alien spaceship in Alien) approach the planet Aura having receiving a strange transmission (as in Alien).
Eventually, it transpires that the space signal intercepted by the Argos was sent by a dying race that seeks to inhabit any visitors unfortunate to land on their planet (parasitic creatures - Alien anyone?).For all of their similarities, Bava's film couldn't be much more different to Alien in terms of style: whereas Scott's film aimed for a gritty sense of realism, Bava's is much more rooted in pulp sci-fi comics, with the strangely spacious spaceship Argus, its crew's snazzy uniforms (the collars and hoods are hilarious), lots of high tech equipment with flashing diodes, a bright colour palette, and strong use of light and shadow.
Atmospheric visuals dominate this Italian made sci-fi tale about earthlings who get more than they bargain for when their spaceship touches down on the mysterious planet Aura.They're attacked by an unknown force and later find out that Aura is inhabited by a dying race of vampire beings who have the power to raise the dead and take over the body and minds of the living.
He had a reputation for the most part for making creepy and atmospheric horror movies that dealt with old-school themes (one of which, Black Sabbath, has Boris Karloff featured prominently), and of the two 'Black' movies I've seen, Sabbath and Sunday, both provide the kind of eerie chills via Bava's exemplary sense of cinematography and how to frame spooky space that makes up for some lacking acting or creaky sets.
But what Bava brings to the table is the horror element, what we don't see is much more terrifying than what may come what may, and in a way what leads up to seeing the deformed and "vampiric" astronauts is more frightening than actually seeing them in the rotting flesh.I was impressed by that aspect, how in terms of production design and mood the film was ahead of its time.
Albeit and obviously minimal budget and equivalent sceneries and effects, Bava accomplishes to give this film a claustrophobic and very eerie atmosphere.When a group of astronauts land on a remote planet, some of them faint, and, upon awakening, attack each other like madmen.
This film has a strong camp factor, with some dodgy effects and some not-so-good acting performances, but this doesn't lessen its value as a true classic of 60s Sci-Fi Horror.The ship captain is played by American actor Barry Sullivan.
Dario Argento is the other acknowledged master of "gialli".If you are looking for a sci-fi film heavy on atmosphere, with very original cinematography, and featuring the all-time coolest black leather space suits; then "Planet of the Vampires" is a must see.There is also a subtle anti-fascist political message.
While never one of my favorite actors, Sullivan did some of his most interesting work in cheap European movies (another being "Pyro".)The "atmosphere" on the planet creates the same kind of dread as that in "Alien".
I suspect the producers of "Alien" were thinking about "Planet of the Vampires" when they created their scenes of the visit to the wrecked alien spaceship.Better in concept than overall execution (though Mario Bava films are ALWAYS worth seeing), this is the only film I ever rated a "5" that I actually SOUGHT OUT to buy.
I am an adoring fan of Bava, his work as an early horror pioneer, his brilliant photography and lighting...but the only thing that went through my mind while viewing this film was, "Oh boy, is it going to be over soon?".Being a genre fan, I've learned long ago to be able to overlook occasional silliness and nonsensical plot threads, but I just couldn't handle this mess...I'm sorry Mario, I still love you!.
A lot of other reviewers praise director Mario Bava for the good special effects and atmospherics of this movie, while others damn him for the disjointed plot and silly science gaffs.
Mario Bava directed this eerie and effective Sci-Fi film as two spaceship crews(the Argos & Dalliot) investigate the mysterious planet Aura, only to have fights break out among both crews, resulting in one crash landing, and the other successfully landing.
Mario Bava's "Planet of the Vampires" aims to please fans of space ship films and horror films, and succeeds pretty well most of the way.
It is not without the faults which trouble several sixties sci-fi films, such as the occasionally silly sets, but Bava's feat is to rise above the American B-movie narration and create a tense, exciting atmosphere.In a story which plays like a forerunner to the first installment of the Alien-series, two spaceships receive an emergency signal from a nearby planet and decide to check it out.
Spiffy little sci-fi horror flick regarding two ships' crews coming in contact with an alien force that had been sending them signals from their Planet Aura.
Mark and company plan to explode the Galliot(whose entire crew killed each other in the major scuffle due to their minds being invaded by the beings on the moment they landed;and they are now possessed completely by the alien spirits)with atomic bombs, retrieving the Meteor Rejector, and getting the hell away the moment they re-board the Argos..but, will they be able to return safely without being killed and their bodies' being invaded?If one were to judge the film by the rather hokey space-ship sets or the crew's campy jargon..their banter describing the devices which operate certain ship's functions is quite funny to listen to..one would be hard-pressed in believing this was a Mario Bava film.
The likes of Alien, Event Horizon and X-Men all owe something to this atmospheric Mario Bava flick.Two spaceships, the Argos and the Galliot, are travelling through the far reaches of space towards a planet named Aura.
Captain Markary eventually discovers that the distress signal from Aura was a trap, designed to lure space travellers to the planet so that their bodies can be 'inhabited' by Aurans desperate to escape from their dying solar system.Terrore Nello Spazio is at its best when Bava gets to show off his visual style.
They come across the skeletal remains of other explorers in a gigantic ship, and they aren't happy that their sister ship crashed.Renowned "Black Sabbath" director Mario Bava conjured up this atmospheric chiller, adapted from Renato Pestriniero's short story "One Night of 21 Hours," long before Ridley Scott fielded international acclaim for his own superlative sci-fi/horror epic "Alien." If you watch this Italian/Spanish space opera simply to ridicule it for its inexpensive, low-budget special effects, then you are missing the point of everything.
"Planet of the Vampires" is one of Bava's best and most overlooked films.**SPOILERS**A group of astronauts, Captain Mark Markary, (Barry Sullivan) Sanya, (Norma Bengall) Wess, (Angel Aranda) Tiona, (Evi Marandi) and Eldon, (Mario Morales) hear of a distress call from a passing ship and crash land on a strange planet and decide to investigate.