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Man has conquered the moon with the epic flight of Apollo 11! Now let go for a new journey full of meaning!

Journey to the Other Side of the Sun – 1969 British science fiction film about a space flight to explore the newly discovered planet. The original title of the film is Doppelganger, but at the moment the film is better known for the already mentioned American and Australian releases.

Directed by Robert Parrish (Marseille Contract; City Called Bastard; Duffy) based on a script co-written by Jerry and Sylvia Anderson, Donald James and (unaccredited) Tony Williamson. The films feature Roy Tynes, Ian Hendry, Lynn Loring, Patrick Wymark and sometimes Herbert Lom.

The soundtrack is set to music by Barry Grey (UFO series; Thunderbird 6; Thunderbird Are GO).


When a hundred years from now scientists will open a double of the earth on the other side of the sun, the stage will be set for intense science-fiction adventures and intrigues. The British-American expedition, led by two former astronauts (Roy Tinns, Ian Hendry), decided to discover what this new world looks like and to leave for the new planet. Everything goes according to plan until the spaceship makes an emergency landing on the planet three weeks earlier than planned.

Take a look:

Journey to the Far Side of the Sun meant a breakthrough in live action, if you will, the debut of the fantastic television producers Jerry and Sylvia Anderson, originally conceived in a short television drama, but fully developed. The couple’s penchant for childish TV adventures places the miniature puppet actors in a high-tech environment with lots of futuristic equipment, resulting in genre classics observed by generations, such as the Thunderbirds, Supercar, Fireball XL5, Captain Scarlet and the Mysterons, and so on.

However, the favorite among these titles will probably remain the fact that when the Andersons perform with flesh-and-blood actors (in later programs UFO and Cosmos: 1999), grumpy critics will accuse their material of being just as lifeless, if not more, inorganic and mechanical – in gimmicks and miniature F/x and without dramatic interest. So the official critic of Voyage au bout du soleil was generally condemned with a few dissenting votes to say it wasn’t really a bad movie. Mine’s one of them.

In fact, I tell you, a jury of crazy moviegoers and problem singles, which doubles or something like that is at the 2001 level: Space Odyssey (1968) and the original Solaris (1972) in the NF space trio of the late 1960s and early 1970s, who dared to show that this science fiction material in the cinemas could well be suitable for adults (some would argue that the Czech Ikari-XB-1 (1963) and other elitist Star Trek episodes from the 1960s also deserve a favour).

Of course, double/traveler…. seems to have had a problematic production, with the Andersons having a creative disagreement with the American apprentice director Robert Parrish (if I had my finger on a bigger Kubrick fan in the room, I’d bet on Mr. Parrish) and some rather difficult and unpublished actors, according to Internet gossip. But these are things that are unexpected brain death and provocative, that change the mind, and if you look at them today, they can still evoke some of the wonderful milling sensations. It includes wristwatches, videoconferencing and maybe even brexite if you want to go that far.

In the credits and in the first scenes you will recognize the spiritual double play of 2001 with its absolute fetishism of technique. Spoiler alert: At one point, the traitor within the organization (Herbert Lom) overcomes the security measures with a small (celluloid!) camera cleverly hidden in his false eye – a conspiracy of espionage that seems to have little to do with what comes next, but is a perfect remedy for our darkroom fanatics.

A truly remarkable discovery, preserved by Eurosek; the deep space probe has discovered an unknown planet in the solar system that orbits in a plane exactly opposite the Earth and therefore normally isn’t behind the solar disk. When other European members suggest cooperation that could lead to a manned mission to a mysterious world, the leader of the British elite (Patrick Wymark) secretly decides to send his own expedition, consisting of the British crew of John Kane (Ian Hendry) and the VIP guest, the American astronaut Glenn Ross (Roy Tynes). During their six weeks in a spaceship they have to go through cybernetic implants for a deep hibernation transfusion.

However, the couple woke up in their boat, apparently three weeks early, first in a seemingly inhospitable and strange environment, and then back to where they had started. Kane was seriously injured, but Ross is in good shape to resume his terrible marriage (the wife of the then actor Tinns – Lynn Loring – took over the role of the actress Gail Hunnicutt, who was ill; this makes for a very unpleasant story about domestic violence). It also has to do with questions from dissatisfied EUROSEC staff about what happened and why the ship started and stopped halfway through the mission.

The explanation of this unexpected turnaround is probably known to all SF fans, even those who have never seen this film before. It still works well, even if it’s in a very melancholic way. In the film literature there are so many variations of stories from different sources that one has to wonder – in addition to some of the tests Mr. Parrish did on the spot and in the cutting room – if there were wildly different versions of the journey over the sun.

Is the whole story a very clever rewrite of Alice in Wonderland for the space age? Is there an active conspiracy between the two planets? Or the journey to the other side of the sun is such a fascinating and dizzying affair that the confused critics, confused with their minds, have turned into Möbius bands as if they were combining their own .

that have been edited in his head (like the one who wrote that Kubrick 2001 quoted Buster Keaton’s silent slap comedy, which I still don’t see).

Derek Meddings’ kits and special effects hold up well, and if the celluloid cameras ever come to life, here you’ll not only see how to put one in the eye, but also how to take out the negative step by step. What more could you ask for?

Charles Cassady Jr..,

Other exams :

The mirror planet Anderson means nothing. This does not lead to an understanding of the universe and human nature. Nobody knows what it means to have a double. Nigel Kneil pays in his Fourth Mass and Pit for a strange room (an alien ship found under London) with an escalation of revelations, each one more than the last […] the trip is an excuse to show off cool rocket toys, and after a while it just isn’t enough. DVD conversation

Parrish’s rather static staging relies mainly on lengthy enlargement of the characters to achieve a certain softness, while it is clear that Hendry is naturally angry in two scenes. It’s normal to lose weight if you take a little rest every now and then; it’s Vimark who steals the acting qualities […] of an easily respected film, an attempt at a more cerebral science fiction film at a time when they were rarely shot, despite 2001. Cult horror films

a science fiction film, three quarters of which are fascinating and have nothing to do with it. Judith Christ, New York magazine.

The actors and characters:

Roy Tynes… Colonel Glen Ross
Ian Hendry… John Kane
Patrick Wymark. Jason Webb
Lynn Loring… Sharon Ross
Loni von Friedl… Lisa Hartmann
Franco De Rosa… Paulo Lundi (as Franco Derosa)
Herbert Lom … Dr. Hassler
George Sewell… Marc Neumann
Ed Bischof … David Poulson (as Edward Bishop)
Philip Madock … Dr. Pontini
Vladek Shaybal… Psychiatrist
George Michell… Captain Ross

Shooting locations:

Albufeira, Algarve, Portugal
Heatherden Hall, Pinewood Studios, Iver Heath, Buckinghamshire, England
Elstree Studios, Boreamwood, Hertfordshire, England
Igreja de Vale Judeu, Lule, Portugal (Astronauts returning to base)

Technical details :

101 minutes
Technical colour
Aspect ratio: 1.85 : 1
tone : Mono (Westrex recording system)

The trailer:

Here we go:

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