1954 11 07 Radio Cinema No 251

Magazine Overview

Title: RADIO CINEMA TÉLÉVISION
Issue Date: November 7, 1954
Issue Number: 251
Pages: 40
Price: 30 Francs

This issue of RADIO CINEMA TÉLÉVISION, dated Sunday, November 7, 1954, presents a diverse range of topics, with a prominent focus on the cinematic representation of flying saucers and extraterrestrial beings, alongside discussions on television's role in public life and a critique of the Cinemascope format.

Cover Story: Edwige Feuillère and "Les Fruits de l'Été"

The cover prominently features actress Edwige Feuillère, announcing her return to comedy with the film "Les Fruits de l'Été." The film is directed by Raymond Bernard and the photograph is credited to Yven Beaugier. This highlights a significant cinematic event for the period.

Feature: Flying Saucers and Martians Exist! At the Cinema

A significant portion of the magazine is dedicated to the theme of "Soucoupes volantes ET Martiens existent! au cinéma" (Flying Saucers AND Martians Exist! At the Cinema). The article explores how the daily press is filled with numerous accounts from observers who claim to have seen luminous balls, incandescent barrels, or cigars emitting bright light in the sky. It also details encounters with strange, inter-planetary beings described as 'scopohondriers' who communicate in an unknown language, interact with dogs, and then disappear into their mysterious craft at prodigious speeds.

The article posits that these accounts, while seemingly fantastical, bear a striking resemblance to episodes from science fiction films. It questions the extent to which public imagination might be influenced or even prefabricated by the suggestive staging of films specializing in science fiction. The authors reference older films like "La Fin du Monde," "Une Femme dans la Lune," and "Croisière Sidérale," noting how contemporary American productions increasingly feature interplanetary journeys and incursions by 'Uramides' or Martians onto Earth.

These films, while retaining a sense of wonder reminiscent of Méliès, now adopt a pseudo-scientific approach, suggesting that the improbable of today could be the plausible reality of tomorrow. The article identifies six key films that characterize this genre: "Destination Lune," "Vingt-quatre heures chez les Martiens," "Le Choc des Mondes," "La Chose d'un autre monde," "Le Jour où la Terre s'arrête," and "La Guerre des Mondes."

Common elements observed across these films include the understanding that in space there is no gravity, that a rocket only needs propulsion to leave Earth's orbit, and that spacesuits are necessary for survival in different atmospheres. The article notes that the depiction of Martians and Uramides, whether tiny or giant, consistently involves them wearing spacesuits, adhering to cinematic conventions. The mysterious ray that paralyzes witnesses near landed saucers is also seen as consistent with themes from "La Guerre des Mondes" and "Le Jour où la Terre s'arrête."

Interestingly, the article points out the curious absence of Martian women resembling those described in the first film, quoting a description of them as "big steel coffee pots mounted on spider legs," suggesting a lack of feminine appeal.

"What If It Were True?"

The section "Et si c'était vrai?" (And If It Were True?) speculates that future discoveries might confirm that flying saucers are not mere figments of imagination. It suggests that filmmakers often possess a prophetic sense, having previously imagined events that later came to pass. The article posits a mysterious connection between cinema and reality, fiction and life.

It highlights that French directors Christian Stengel and Jean Stelli are also being inspired by flying saucers. Jean Stelli is planning a film titled "Soucoupes pour Vénus" (Saucers for Venus), which will tell the story of an average Frenchman abducted by a flying saucer crew and his subsequent experience on the planet Venus.

The article encourages filmmakers, especially amateurs, to patiently point their cameras towards the starry night sky. It suggests that the most convincing 'production' in this domain would be an unvarnished documentary, even if technically imperfect, that proves science and fiction, united by reality, no longer need a hyphen.

Television and Political Transparency

Another article, "LA TV. AU PALAIS BOURBON !" (TV. At the Palais Bourbon!), discusses the role of television in government. The author, J.-L. Tallenay, reflects on American ministers being televised during a government meeting, noting that democracy does not typically require public deliberations, which are often kept secret. The televised meeting is described as a "fake meeting, a governmental spectacle" offered to citizens.

In contrast, the article points out that in France, the deliberations of lawmakers are supposed to be public. However, it questions the accessibility of parliamentary debates to the average citizen. The author suggests that if television were present in the National Assembly, deputies might behave differently, perhaps less confrontational, and more mindful of public scrutiny. This would allow the sovereign people to monitor the behavior of their representatives.

While acknowledging that full televised coverage might be lengthy and boring, the author proposes that at least the most important sessions, particularly those concerning television itself, should be broadcast. This would serve as a reminder to deputies and ministers that television exists, as many seem to be unaware of its presence, as evidenced by past debates on the subject.

The "Trial" of Cinemascope

Another section, "PROCÈS DU CINÉMASCOPE" (Trial of Cinemascope), is mentioned with a reference to pages 4 and 5, indicating a critical examination of this new widescreen film format.

Recurring Themes and Editorial Stance

The issue strongly leans into the burgeoning public fascination with UFOs and the science fiction genre, particularly as depicted in cinema. It explores the intersection of popular culture, scientific speculation, and potential reality. The magazine also engages with the contemporary issue of media's role in government transparency, advocating for greater public access to political proceedings through television. The editorial stance appears to be one of open-minded inquiry into the unknown, coupled with a critical eye on both cinematic portrayals and the political landscape.