The vibe on Space Probe Taurus is weird, for lack of a more specific term. It has the bones of a typical 1950s-1960s hard science fiction near-future let’s-go-conquer-space flick. The four main characters, the only ones we spend any real time with, are stock types: the hard-driving commander, the older scientist/engineer, the tough-on-the-surface female scientist, and the wiseguy she eventually falls for. They crew a rocketship dispatched from Earth in the year 2000 to explore outer space and find a planet suitable for colonization.
Things start weird and get weirder. We open not with this crew, but with the last surviving member of a different rocketship. The ship is located on an undefined planet, the rest of the crew killed by an unspecified disease and/or radiation. Somehow in real-time communication with Earth (this movie’s hand-waving of time and space problems anticipates J. J. Abrams by over 40 years), he implores for Earth to destroy the ship and kill him. After some back-and-forth, Mission Control pushes a button on a panel (!) and destroys the ship.
On the one hand, this trope of self-sacrifice for the conquest of space was pretty common. The Quatermass movies were all over this territory; First Man into Space is another example. On the other, and this is going to be a pattern with this movie, we never really mention this crew and its sacrifice again. Our crew doesn’t travel to this planet; it’s not mentioned in dialogue. I’m not sure it’s a wrong choice–the planet was clearly unsuitable, no use throwing good money after bad etc–it’s just unexpected.
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