I don't think anyone could rationally call the ending happy. All of us who believed in space exploration were O.J., making that heroic climb up an impossible cliff without rigging or safety equipment only to find the black helicopters waiting for us at the top. At the time Capricorn One came out we had no manned launch capability at all we had burned Apollo to the ground and the Shuttle was having all kinds of trouble, being essentially a poorly thought out boondoggle not to get into space until the 1980's. It wasn't so much that we thought Apollo had been faked, as we had been faked-out by the promise of a spacefaring future that was obviously not going to materialize.
Capricorn one remake trailer movie#
Movie via DailyMotion posted by MoonOrb (11 comments total) 4 users marked this as a favoriteĬapricorn One was the well-deserved funeral dirge of the Apollo program, and it was in many ways brilliant. The Dissolve: Capricorn One and other movies brought 1970s paranoia into science fiction Of course in this paranoid, conspiratorial age learning once and for true that the moon landing was a hoax and the government has an alien craft in its possession would likely elicit little more than a shrug. Did the enraged masses panic and riot? Were there mass suicides? Were government officials hanged in the town square? We get no sense of what the implications or repercussions to that news might be. but does anyone care?ĭen of Geek: Both Hangar 18 and Capricorn One have supposedly happy endings in which the heroes survive and the truth of the massive conspiracies is revealed to the general public. For example, how are the three astronauts spirited away from Cape Canaveral in a jet while at least a million people in the immediate vicinity are watching? Why is a medallion, used by one of the astronauts to slip the hinge in their desert prison, later found by the nosy reporter some yards away on the Mars television "set," which has been used to fake the television coverage of the Mars landing? Why. I'm once again 16 years old when I was quick to point out to adults all those contradictions they'd learned to ignore. NYTimes: At movies like this I tend to regress. Simpson, who gets to drink from a dead snake, tells you just what era this film harkens from. That they are played by James Brolin, Sam Waterston and O.J.
The second half is pure chase movie, a race against time as the trio of heroic spaceman escape their desert prison and are gradually hunted down. As he pieces together the factual anomalies, tipped off by his soon-to-die insider buddy Robert Walden, and dodges various attempts on his life (the most immediate form of verification) the film spins into life. It is he, one of the seventies great unrecognised joys, who gives the film its ironic fizz, as if it is almost parodying the seriousness of the eras moody suspicions. Get over that and it’s a whole lot of fun watching Hal Halbrook’s - who played supergrass Deep Throat in All The President’s Men - wicked scheming unravel thanks to the gutsy work of Elliot Gould’s tatty hack. Shadowy political trickery is one thing, fabricating an entire NASA mission is near impossible to credit. Certainly, you have to forgive the whacking great lumps of far-fetchedness. Empire: An excellent, if forgotten, late seventies conspiracy thriller which takes the existent fable of the faked moon landing and runs with it.
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