View allAll Photos Tagged Condensed
Ex-Midland Railway Johnson 3P 0-6-0T 47202, with condensing gear, at Derby loco shed, in 1964.
The loco had been in storage at Cricklewood for a time in 1962, but returned to service, and was withdrawn from Newton Heath shed in 1966, and scrapped in April 1967.
All of this class were scrapped, although several of the later Fowler locos have survived..
Restored from an unfocussed very grainy magenta-colour-shifted original..
Original slide - photographer unknown
Gamcheon Cultural Village is often called the “Santorini of the East” or “Lego Village" with its endless rows of low-rise, colourful cubicle homes rising up along the steep hillsides from Pusan Harbour below. During the Korean War, Gamcheon was a place for refugees and traditionally home for many of Pusan's most disadvantaged residents. Today though, it has received cultural protection from Korea’s Ministry of Culture, Sports, and Tourism, and has become a major tourist draw. I'd recommend spending a few hours walking around this place with your camera, as you're guaranteed to come away with some magical shots!
Olympus OM-D EM-1 with 12-40mm f/2.8 PRO
Sant Miquel d'Olèrdola, Barcelona (Spain).
ENGLISH
These old vines are ready to sprout in spring, and with the help of the water to extract the land nutrients, that the heat of the Mediterranean sun will turn grapes, that at the end of the season will give sweet juice, that will ferment in the warehouses of the background of the image, and that one or two years later will accompany our meals in form of wine or will cheer our celebrations in form of cava.
***
The Penedès is the largest and most productive wine region of Catalonia and is considered the birthplace of Cava. The region has a long winemaking history and due to its close proximately to Barcelona has always enjoyed a strong export market. In the 19th century it was one of the first Spanish wine regions to involve itself with large-scale commercial production of wine, mainly for export to post-phylloxera France. In the 1960s & 1970s, the Penedès region led the way in the Spanish wine industry's technological revolution, being the first wine region to adopt the use of temperature-controlled stainless steel fermentation tanks. The region also began to import more international varieties and better clonal vine selections of grapes such as Cabernet Sauvignon, Chardonnay, Gewürztraminer, Merlot, Pinot noir, Riesling and Sauvignon blanc.
The region is divided into three zones – the lowland Baix Penedès, the Penedès central which lies between coastal and inland mountain ranges, and the upland Penedès Superior or Alt Penedès. The warmer Baix Penedès, centered around the town of El Vendrell and extending to the Costa Daurada coastline, has long been known for its fortified wines made from Malvasia and Moscatel de Alejandría (Muscat of Alexandria), but has a growing reputation for non-fortified reds made from Cariñena, Garnacha and Monastrell.
The Central Penedès is located in a broad valley about 1,600 ft (500 m) above sea level and centered around the regional capital of Vilafranca del Penedès, the largest winery there being Bodegas Torres. The nearby town of Sant Sadurní d'Anoia provides another focal point for the area, being the acknowledged center of Spanish Cava production. Traditionally made from the area's Macabeo, Parellada and Xarel·lo grapes, the increased use of Chardonnay and Pinot noir in Cava blends has seen a corresponding expansion in areas of the region dedicated to those grapes. The Central Penedès has also been increasing its red wine production based on Cabernet Sauvignon and the local strain of Tempranillo known as Ull de Llebre.
The Penedès Superior is located in the foothills of the Meseta Central plateau and is the coolest part of the region, used almost exclusively for white wine production.
More info: en.wikipedia.org/wiki/Catalan_wine#Pened.C3.A8s, en.wikipedia.org/wiki/Pened%c3%a8s
---------------------------
CASTELLANO
Estas viejas cepas ya están listas para brotar en primavera, y con ayuda del agua extraer los nutrientes de la tierra, que el calor del sol del Mediterráneo convertirá en uvas, que al final de la temporada dará unos dulces caldos, que fermentarán en las bodegas del fondo de la imagen, y que uno o dos años más tarde acompañarán nuestras comidas en forma de vino o alegrarán nuestras fiestas en forma de cava.
***
La Denominación de Origen Penedès es una denominación de origen española que toma su nombre de la región catalana del Penedès.
Se trata de un terreno irregular, con pequeños cerros desde la orilla del mar hasta la montaña de Montserrat, con pequeños valles de los diferentes ríos. Goza de un clima mediterráneo, cálido y suave. Tiene baja pluviosidad y muchas horas de insolación.
Predomina en esta región la producción de cava. Además, son famosos sus vinos blancos. Son vinos ligeros, aromáticos, de poco cuerpo. También produce vino de aguja y rosado. Tiene una pequeña producción de vino tinto.
Fuente: es.wikipedia.org/wiki/Denominaci%c3%b3n_de_Origen_Pened%c...
This condensed galaxy was not difficult to see from my suburban backyard with the 155mm refractor. It rested between two 9th magnitude stars which makes its location easy to hone-in-on when searching for it. Small and unexpectedly bright.
I was tempted to think that I was catching internal structure but was never fully convinced. The core was brighter than the subtly mottled disk, but the spiral arms themselves could not be teased out.
To see additional astronomy drawings visit: www.orrastrodrawing.com
"Storm Condense"
Cold and wet here I sit must be barking mad. Brolly up back to the groyne it was lashing down, May 9th Selsey beach height of storm ,808.4 seconds condensed in to whatever time you spend looking at.
Condensation on A380 wings could be enough for moisturizing half a park :))) Miami Airport. Febrero 2015.
The leaflet issued by the well known Sheffield typefoundry of Stephenson, Blake and showing the Consort range of typefaces. This was available as Consort, Consort Italic, Consort Light, Consort Bold, Consort Condensed, Consort Light Condensed and Consort Bold Condensed and this shows a variety of points and weights.
Consort was a reworking undertkane in the 1950s by Stephenson Blake of Clarendon. The leaflet uses images of Prince Albert, Queen Victoria's Consort and the text tells the story of William Greaves Blake who was, after his army career, rose to run the business and as Sir William Blake rose to prominence int he civic life of the City of Sheffield - it includes an interesting typo I suspect in that W G Blake is, given his career, more likely to have been born in 1838 not 1883.
Specimen sheet for News Gothic Condensed Bold Series 724, designed by Frank Bartuska for American Type Founders in 1965.
Proudly manufactured by the Zhejiang Panda Dairy Products Co., Ltd, Wenzhou, Zhejiang, People's Republic of China
Cham, Switzerland (Anglo-Swiss): Factory in 1866, artist: J. Weber, 1985
Please credit photos and posters: © Nestlé S.A.
Nestlé is happy for you to use this image to illustrate a news story, blog or article.
All images and posters have been provided by the Nestlé Historical Archives
Et pour terminer sur le patrimoine hébraïque de Prague, une vue d'ensemble sur ces formes si harmonieuse et ses couleurs si peu courante de cette belle synagogue espagnole.
Je ne savais pas à quoi m'attendre en mettant le pied dans ce quartier juif, mais la surprise fut grandiose. De nombreuses émotions furent de la partie. Et malgré le monde, la documentation sans français (plutôt normal en même temps) et un prix un peu élevé, j'ai vraiment aimé découvrir et redécouvrir (en faisant les recherches) ce qu'était les juifs de Prague, je recommande.
Sources : Wikipédia synagogue espagniole (Multi) && Monuments historiques (CZ) && Wikipédia synagogue de Léopoldstadt (Multi)
Florennes, Belgium
Swiss Air Force, J-5026, condenses the air during its hi-speed flypast. Unfortunately, I never managed to capture her coming out of the Vapour Cone.
WEEK 18 – Closing the Gap (V)
Jumping to the back left corner of the store now, for this look into the fitting rooms. Unfortunately I never did get a good shot of the fitting rooms themselves, besides a few general shots of the entrance to the hallway they were housed in (which is what you see in this photo). The even worse thing is, I knew this by the time I popped in for one final visit, and still somehow forgot to get a better shot XD You will be seeing at least one photo of the fitting rooms soon, however. It’s not the greatest, but it’s the only one I had buried in my archives. It’ll be posted as my teaser photo for the final photoset from here in two weeks.
In addition to the entry to the fitting rooms, the merchandise seen in this pic represents the remainder of children’s and infants.
(c) 2018 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
The leaflet issued by the well known Sheffield typefoundry of Stephenson, Blake and showing the Consort range of typefaces. This was available as Consort, Consort Italic, Consort Light, Consort Bold, Consort Condensed, Consort Light Condensed and Consort Bold Condensed and this shows a variety of points and weights.
Consort was a reworking undertkane in the 1950s by Stephenson Blake of Clarendon. The leaflet uses images of Prince Albert, Queen Victoria's Consort and the text tells the story of William Greaves Blake who was, after his army career, rose to run the business and as Sir William Blake rose to prominence int he civic life of the City of Sheffield - it includes an interesting typo I suspect in that W G Blake is, given his career, more likely to have been born in 1838 not 1883.
The cover to the BR Supplement to their 1948 Signs Manual - this showing the 'condensed' series of Gill Sans that was "allowed" in certain circumstances.
Eleven Pannier Tanks, 9700-10, were fitted with condensing apparatus for working over L.T. Metropolitan lines and all were allocated to Old Oak Common (81A). The first withdrawal took place in 1959 and the last in 1964. 9700 was withdrawn in October 1963.
The Patrick O'Brien Collection
This picture was taken before I added the condensed milk. It looks better this way -- and quite likely tastes better. Maybe next time I'll leave off the condensed milk.
Sunlight ripples through a dark sky on this Swedish summer midnight as noctilucent or night shining clouds seem to imitate the river below. In fact, the seasonal clouds often appear at high latitudes in corresponding summer months. Also known as polar mesospheric clouds, they form as water vapor is driven into the cold upper atmosphere. Fine dust supplied by disintegrating meteors or volcanic ash provides sites where water vapor can condense, turning to ice at the cold temperatures in the mesosphere. Poised at the edge of space some 80 kilometers above, these icy clouds really do reflect sunlight toward the ground. They are visible here even though the Sun itself was below the horizon, as seen on July 16 from Sweden's Färnebofjärdens National Park. via NASA ift.tt/2a7ecFo
my husband made lattes for us last night..he got a container to froth the milk for his birthday and a friend of his that runs a coffee shop down town gave him a small tin of condensed milk..which is not to be found in icelandic stores..
i looked very sadly into the bottom of the glass when i was done..it was the best latte i have ever tasted!
why won´t they import condensed milk?
In the 1880s Johann Baptist Meyenberg worked for the Anglo-Swiss Condensed Milk Company in Switzerland. He came up with a new process for sterilising and manufacturing unsweetened condensed milk. “Isn’t this a great idea?!” he asked his boss. ‘No!’ his boss replied.
Water vapor in the air condenses into droplets at the dew point temperature. On this dandelion, the surface temperature of some of the seed parachutes reached the dew point and water droplets formed.
At this time of the year, we get a lot of dew formation at night. Our temperatures on sunny days right now range from zero celsius at night (32 for my American friends) to plus 20 celsius (68) in the afternoons.
You can read the following if you are a pro and want a chuckle:
I am really happy with this photo. Who hasn't taken dandelion close ups... but I try quite often to get something just a little different or better. I almost never write anything technical about a photo because most of my flickr contacts are far beyond me when it comes to photo technical issues, especially exposure and light.
I was in a local park where there are a lot of wildflowers and mushrooms and was looking for a photo subject. The dew on the dandelions really caught my eye.
I don't have a macro lens, so I make do with my multi purpose 18-200 which close focuses (I can hear the pros coughing and snickering). I used a polarizing filter, to suppress glare off the droplets. I tried a few different f stops and ended up stopped down to f18, to try to have as much of the dandelion head in focus (which worked ok because at 170 mm and close focussed, the dof was ok and the background was blurred enough). I adjusted the ISO to 400 because there was just a tiny breeze and I didn't want to risk any motion blur at too slow a shutter speed.
So, now what do you do when focus is critical and the shutter speed is too slow for hand holding a camera. Well, all the pros carry their tripod. Of course, I didn't have my tripod with me, so I grabbed the nearest large rock and hauled it over to put my camera on. The only problem I had now was that the sunlight was harsh and I figured it would blow out the highlights, especially the water drops and seed parachutes. So, I set the shutter to 5 second delay and used my jacket to shield direct light from the dandelion and background.
So, imagine me... camera on a rock, self timer beeping down, standing up to block the sunlight with my jacket, like a matador. A few people gave me looks like I was a crazy person... maybe I am.
One of my favorites! Soaked with the cream-condensed milk-evaporated milk-rum syrup, covered with meringue. Recipe in my blog.
youtu.be/wO9XjCM6tB8?t=3s Trailer
Additional Lobby Cards in Set www.flickr.com/photos/morbius19/sets/72157641173484945/
1964 was a better year for sci-fi and Columbia's First Men in the Moon (FMM) was the year's big-budget treat. HG Wells' 1899 novel was adapted to a more modern retelling by Nigel Kneal (of Quatermass fame), but is still fairly faithful to the original. Two men (and a woman) travel to the moon in 1899 and encounter a civilization of insect-like beings. FMM also features the animation of Ray Harryhausen. He gives the usual monster (moon cows), but brings the selenites to life.
Synopsis
A modern (1960s) UN moon mission lands, only to discover a little British flag and a paper claiming the moon for Queen Victoria. On earth, they trace the names to an old Arnold Bedford in a nursing home. He tells his story as flashback. He rented a cottage next door to an eccentric inventor. Cavor created Cavorite, a substance which blocks gravity. Bedford sees the money-making potential, so attaches himself to the work. Cavor, however, wants to explore the moon. To that end, he built a sphere. Bedford agrees to go with him, thinking of gold on the moon. Bedford's fiancee, Kate, is pulled aboard at the last minute. Amid some mild antics en route, they arrive on the moon. Cavor and Bedford explore, finding a labyrinth of tunnels and little insect people. They return to the surface, but the sphere (with Kate inside) has been taken by the selenites. They re-enter the tunnels in search, but become separated when a giant "moon cow" caterpillar beast attacks them. The selenite scientists study Cavor and Kate, eventually learning english. The selenites are disassembling the sphere for study. Cavor is given an audience with the Grand Lunar. He tells the Grand Lunar about earth and men. Cavor's description of war alarms the Grand Lunar, who decrees that Cavor must remain on the moon to prevent more defective earthmen make the trip. Meanwhile, Bedford and Kate have reassembled the sphere, but need Cavor to get the shutters to work. Bedford interrupts the Grand Lunar audience, causing a fight. Cavor and Bedford flee to the sphere. Cavor fixes it, but refuses to return to earth. Bedford and Kate return. End flashback. Old Bedford sums up his tale. TV reports that the astronauts on the moon find abandoned underground cities. Quick conjecture is that some virus wiped out the inhabitants. Bedford quips that Cavor did have a bad cold. The End.
There is much to like in FMM. Lionel Jeffries almost steals the show with his highly colorful portrayal of Cavor. The matt art, scenery, sets and models are well done. Harryhausen's work doesn't dominate, but enhances the alien-world feel.
There is more of Wells' original anti-imperialism message than anything of the Cold War. The portrayed fact that the first moon landing was an international effort shows a bit of optimism.
Nigel Kneal's screenplay tries to maintain much of Wells' original story, but a few concessions had to be made to make a good movie for mid-60s audiences. Rather than modernize the tale, Kneal framed the Victorian story as a flashback within modern bookends. Kneal omitted the frozen atmosphere and fungal plant life, (as modern audiences would not buy that). He kept a simplified version of the selenite civilization, and the moon cows. He also kept Bedford returning and Cavor remaining.
Kneal's script pulls in elements from a couple of Wells' other stories. He repeats the trope of the aliens taking the protagonist's machine underground, which Wells had in The Time Machine. Kneal borrows from Wells' War of the Worlds to have the aliens all killed off by a simple earth germ. In Wells' novel, the selenites are not wiped out. Modern folk knew the moon was lifeless, so a handy plague was needed.
Embedded in Wells' novel, and echoed somewhat in Kneal's screenplay, was stratified, dehumanizing industrial society. A cute counterfoil to that and commentary on unionized culture, was the scene at Cavor's house where the three workers argue about whose job it was to stoke the furnace. The metal worker complained that since he wasn't a stoker (by profession), it therefore wasn't his job. The gardener agreed that he wasn't a stoker either. The butler also agreed that he was a butler, not a stoker, so none of them stoked, but all went out for a pint.
In Wells' War of the Words, imperialist humans get a taste of their own medicine from the über-imperialist Martians. In FFM, imperialist humans go to someone else's planet. In both the novel and the screenplay, the two protagonists embody classic British imperialism. Cavor is the benevolent explorer, missionary and claimer of places. Bedford is the exploiter capitalist, who puts little value on the lives of the "brownies". This condensed duo of earth-ish imperialism plops down amid a greater power. Cavor and Bedford play out the traditional arguments (benevolence vs. conquest) but Bedford's view prevails and he goes about smashing their cities. In Kneal's script, imperialist man manages to completely ruins things -- even if only by accident (Cavor's cold germs). This has several earth history parallels too.
It was fairly common in 19th century sci-fi (e.g. Wells and Verne) to have only men as the protagonists. Post-WWII Hollywood was unable to resist inserting a woman into the character mix. They usually served as simple cheesecake, or love-triangle fodder, or the damel to be rescued. In FFM, Kate is a bit less flagrantly the intruded woman. She is useful to keep up dialogue while Cavor and Bedford are separated. She is a occasionally the damsel, but not obnoxiously so. (Heck, she blasts some selenites with a shotgun). We can be thankful the producers resisted including a cute animal in Disney fashion.
Bottom line? FMM is a classic that no one should miss -- even viewers who don't normally go in for sci-fi. The story is thoughtful, the acting good, and the production very good.
While many contemporary science fiction and fantasy films find their inspiration in graphic novels and comic books, H.G. Wells is still the gold standard when it comes to an indisputable master of the genre. More than 62 years after his death, the film industry continues to steal from and rework ideas and storylines from his popular fantasy novels. Most of them have been enormously successful (The War of the Worlds [1953 & 2005], The Time Machine [1960 & 2002], The Invisible Man [1932], Island of Lost Souls [1933]). In fact, one of the first silent films to become an international success was French filmmaker Georges Melies's 1902 adaptation of Wells' First Men in the Moon, released as Le Voyage dans la lune.
TCM review by Jeff Stafford
In Wells' original 1901 novel, the story, set in the rural village of Kent, focused on an eccentric scientist, Cavor, conducting anti-gravity experiments on a man-made substance called 'Cavorite,' and his neighbor, Mr. Bedford, a struggling, debt-ridden playwright. Enlisting Bedford's help, Cavor eventually succeeds in proving the "gravitational opacity" of cavorite and together the two men depart for the Moon in a glass-lined steel sphere powered by Cavor's invention. After successfully landing on the lunar surface and exploring the terrain, Cavor and Bedford are captured by moon men Selenites and imprisoned. Bedford manages to escape, and believing that Cavor has been killed, he locates their stolen sphere and returns to Earth. Once he is back, Bedford publishes an account of his adventures and learns from a Dutch scientist experimenting with wireless waves that messages are being sent from the moon by Cavor. It appears that Bedford's former neighbor has learned to live and communicate with the Selenites but eventually Cavor's messages become incoherent and then abruptly stop. The story ends with Bedford assuming that the Selenites silenced Cavor because they were afraid of further Earth expeditions to the moon.
Georges Melies's loose 1902 adaptation of Wells' First Men in the Moon condenses the story into a brief running time of barely eleven minutes but in 1919, Gaumont studio attempted a longer feature version, directed by J.L.V. Leigh, which added a female character as the love interest. It is now considered a lost film. No one else attempted to film Wells' story until the early sixties when screenwriter Nigel Kneale, stop-motion animator Ray Harryhausen, and director Nathan Juran were brought together by producer Charles Schneer.
After securing the rights from Frank Wells, son of the famous author, Schneer approached Columbia Pictures with the project. Despite their initial reluctance, Schneer's previous successes for them - 20 Million Miles to Earth [1957], The 7th Voyage of Sinbad [1958], Jason and the Argonauts [1963] convinced them to finance First Men in the Moon [1964]. Kneale, who had penned The Quatermass Experiment, a highly influential science fiction series on BBC-TV, updated Wells's original story to include a clever framing device set in present times in which a United Nations space mission to the moon discovers evidence of a British expedition in 1899, during the reign of Queen Victoria. Kneale also expanded the role of the female love interest who was first introduced in the 1919 version. Martha Hyer was cast in the latter role with Lionel Jeffries and Edward Judd being tapped to play Cavot and Bedford, respectively.
In the book Ray Harryhausen: An Animated Life, the special effects master describes some of the difficulties of filming First Men in the Moon. "Along with numerous other tasks, I was also faced with the design basics for a whole alien civilization. Because the Selenites were to be insect-like, I decided that all doors and apertures were to be hexagonal, a common structure in the insect world. Whether it was scientifically accurate was secondary to the consideration that it should look realistic, be practical and above all spectacular. These basics were relatively straightforward, but when it came to broader aspects of the story that included tunnels, lunar landscapes, lens complexes, oxygen machines and the palace of the Grand Lunar, the budget prevented any of them from being built as full sets, so I designed them as miniatures and incorporated the actors with the aid of traveling mattes. For example, the huge bubbling vats that produced the oxygen were three- or four-foot high miniatures. However, these design headaches were nothing compared to Charles [Schneer] and Columbia Pictures announcing that the film, if possible, should be photographed in widescreen to give it an added attraction."
Filmed in the anamorphic process known as "Dynamation," in which live action and stop-motion animation can be combined via rear-projection and split-screen techniques, First Men in the Moon proved to be more restrictive and cost-prohibitive for Harryhausen on a creative level. As a result, his famous stop-motion work was only highlighted in three key sequences the Selenites in their high tech laboratories, the giant mooncalf and the Grand Lunar.
Most of the live-action cinematography took place at Shepperton Studios where a full-sized section of the moon's surface was constructed on a sound stage for the framing sequence and for the arrival and departure of Cavor's sphere from the lunar surface. NASA served as technical advisors on the film and the blueprints for their own Lunar module aided Harryhausen tremendously in designing the entire U.N. expedition sequence; it would also serve as a dry run for NASA which would stage a real moon walk for the entire world on television on July 20, 1969.
Less successful was the design of the Selenites. Harryhausen said, "I have never been keen on using 'men in suits' as animated creatures, but several scenes called for masses of smaller 'worker' Selenites, which would have taken an eternity to animate. So we had to resort to using children in suits. I designed a suit made into twenty-five moulded latex costumes with reinforced sections. Although they were never really convincing, mainly because the children's arms were not spindly enough to match the animated Selenites, the low-key lighting allowed Jerry [a nickname for director Nathan Juran] to use the suits with reasonable success."
Despite the many technical frustrations he experienced while working on First Men in the Moon, Harryhausen also enjoyed some aspects of it. "Some of my fondest memories during production," he said, "were the surprise visits of several personalities. The first was Frank Wells, son of H.G. Sadly, I only met him briefly, but he showed great enthusiasm for the design and animation, and we talked about his father. Another visit was by one of Hollywood's greatest directors, William Wyler. He was shooting a film on another stage, and although he wasn't there very long, I did manage to talk with him, and he seemed intrigued at what we were doing. Furthermore, when British performer William Rushton was unable to turn up for the part of the writ server, we unexpectedly secured the services of one of the world's top actors. Lionel [Jeffries] persuaded Peter Finch, who happened to be shooting The Pumpkin Eater (1964) on the next stage, to guest in the role. To save time, Lionel wrote out Finch's lines on the back of the summons paper, which he delivered with enormous enjoyment."
When First Men in the Moon opened theatrically, it was treated by most critics as a children's film and not as a bona-fide sci-fi thriller in the style of Wells' The War of the Worlds or The Time Machine. Howard Thompson of The New York Times dismissed it, writing, "Only the most indulgent youngsters should derive much stimulation let alone fun from the tedious, heavy-handed science-fiction vehicle that arrived yesterday from England..." The Variety review was more positive and reflected the film's general reception, calling it "an exploiteer's dream. Family audiences should flock to the wickets. It is an astute blend of comedy, occasional thrills and special effects work. Film is a good example of the kind of fare that television cannot hope to match in the foreseeable future."
Moviegoers did not, however, flock to see First Men in the Moon as they had previous Harryhausen ventures such as Jason and the Argonauts and The 7th Voyage of Sinbad. Part of the problem may have been the film's emphasis on comedy instead of suspense or action-adventure and many reviewers noted that the whimsical tone neutralized any potential excitement. The Hollywood Reporter, in fact, proclaimed it "the first space fantasy comedy." Harryhausen was also working with a different composer this time instead of Bernard Herrmann, who was unavailable. While Laurie Johnson's score is atmospheric and evocative of its setting, it lacked the dynamic range and intensity that Herrmann's music brought to such Harryhausen films as The 3 Worlds of Gulliver (1960) and Mysterious Island (1961), among others.
Harryhausen also admits that "...the poster Columbia came up with really didn't help to sell it. It was too childish in its attempts to point out that it was 'in' in the Moon, not 'on.'" Yet people who avoided the movie missed a visual treat, brimming with rich Victorian-era art direction, futuristic set designs reflecting the Selenites's world and unusual special effects. "Personally," Harryhausen stated, "I believe it is one of the most faithful adaptations of Wells' novels, but perhaps the time was not right for such a film, or perhaps the real moon landings were too close. Hopefully, posterity will look upon it with kinder eyes."
Producer: Charles H. Schneer
Director: Nathan Juran
Screenplay: Nigel Kneale, Jan Read; H.G. Wells (story)
Cinematography: Wilkie Cooper
Art Direction: John Blezard
Music: Laurie Johnson
Film Editing: Maurice Rootes
Cast: Edward Judd (Arnold Bedford), Martha Hyer (Katherine 'Kate' Callender), Lionel Jeffries (Joseph Cavor), Miles Malleson (Dymchurch Registrar), Norman Bird (Stuart), Gladys Henson (nursing home matron), Hugh McDermott (Richard Challis).
C-103m.