Pretty much the only reason this movie went into production was that someone noticed that had a lot of stuff laying around that was used on Brescia’s previous movies and figured they might as well squeeze another movie or two out of it.
That Ikarie was a high profile undertaking for the studio is clearly evidenced by the obvious expense that went into the film’s large cast, it’s for-the-time above average special effects and, above all, Jan Zazvorka’s production design.
Two-fisted astronauts, a swankadelic soundtrack, good looking women, pop art design, and a climactic sequence involving sexy nurses with machine guns fighting robots who shoot lasers out of their eyes.
Margheriti has to be credited for creating that rarest of rarities: a piece of pulp entertainment that delivers exactly what its title advertises.
England’s Hammer Films had the misfortune of releasing their nicely decorated but somewhat tepid science fiction romp Moon Zero Two in the wake of 1968’s two big genre-changing films, and as a result, Hammer’s effort comes out looking decidedly small-scale and quaint. Perhaps even more crushing, Hammer released their breezy little moon adventure movie in 1969 and wound up competing directly with the actual Apollo moon landing.
In the great scheme of things, Forbidden Planet is still probably the coolest of the 50s sci-fi films, if for no other reason than it’s completely weird musical score, but World Without End is a two-fisted action-packed little brother that may not be as respectable or ambitious, but just might be more fun.
The Cultural Gutter invited me and my monsters over for a cup of tea and a conversation about The Monster in Me, during which I wax philosophic about the history of horror film ghouls and the lack of “human” monsters in modern chillers.