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Red Planet Mars
Theatrical release poster
Directed byHarry Horner
Screenplay by
Based onthe play Red Planet
by John L. Balderston and John Hoare
Produced by
  • Donald Hyde
  • Anthony Veiller
Starring
CinematographyJoseph Biroc
Edited byFrancis D. Lyon
Music byMahlon Merrick
Production
company
Melaby Pictures
Distributed byUnited Artists
Release date
  • May 15, 1952 (1952-05-15) (United States)
Running time
87 minutes
CountryUnited States
LanguageEnglish

Red Planet Mars is a 1952 American science fiction film released by United Artists starring Peter Graves and Andrea King. It is based on a 1932 play Red Planet written by John L. Balderston and John Hoare and was directed by art director Harry Horner in his directorial debut.

Plot

[edit]

An American astronomer obtains images of Mars suggesting large-scale environmental changes are occurring at a pace that can only be accomplished by intelligent beings with advanced technology. Scientist Chris Cronyn (Peter Graves) and his wife, Linda (Andrea King) have been contacting Mars by a hydrogen-powered radio transmitter, using technology based on the work of Nazi scientist Franz Calder. They communicate first through an exchange of mathematical concepts, like the value of pi, and then through answers to specific questions about Martian life. The transmissions claim that Mars is a utopia, which has led to great technological advancement and the elimination of scarcity, and there is no fear of a nuclear war.

This revelation leads to political and economic chaos, especially in the Western hemisphere, and is said to have "done more to smash the democratic world in the last four weeks than the Russians have been able to do in eleven years".[1] The U.S. government imposes a news blackout and orders the transmissions to stop due to fears that the Soviet Union could pick up and decode their messages. This ends when the next message reveals that the Earth is condemned to the constant fear of nuclear war as a punishment for straying from the teachings of the Bible. Revolution sweeps the globe, including the Soviet Union, which is overthrown and replaced by a theocracy, which is met with celebration in America.

The messages cease. Calder, armed with a handgun, confronts the Cronyns in their lab. He wants to announce that he has been duping the world with false messages from a secret Soviet-funded radio transmitter high in the Andes mountains of South America. The transmitter was destroyed by an avalanche. There have been no transmissions since then. He shows them his log. When Linda raises the question of the religious messages, Calder is contemptuous. He says that he transmitted the original messages supposedly from Mars, but that the United States government made up the religious messages, which he allowed because he wanted to see the destruction of the Soviet Union. The Cronyns know that the religious messages were not hoaxes, but Calder's claim will be believed and it will mean disaster for a now peaceful Earth. Unseen by Calder, Chris opens the valve to the hydrogen supply and tells Linda to leave. Calder refuses to allow it. She asks her husband for a cigarette. He says quietly that in all their years together he has never seen her smoke. They both know the spark will ignite the hydrogen and destroy the lab. But before Chris can use his lighter, a message begins to come through and an enraged Calder fires into the screen, blowing up the transmitter, himself and the Cronyns before the message is complete. However, the first part is decoded, and later the President reads it aloud to the world: "You have done well my good..." the rest evoking the Parable of the Talents in the Gospel of Matthew: "You have done well, my good and faithful servant."[2]

Cast

[edit]

Reception

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Critical response

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When the film was released, the staff at Variety liked the film, writing, "Despite its title, Red Planet Mars takes place on terra firma, sans space ships, cosmic rays or space cadets. It is a fantastic concoction delving into the realms of science, politics, religion, world affairs and Communism [...] Despite the hokum dished out, the actors concerned turn in creditable performances."[3]

The New York Times, while giving the film a mixed review, wrote well of some of the performances, "Peter Graves and Andrea King are serious and competent, if slightly callow in appearance, as the indomitable scientists. Marvin Miller is standard as a top Soviet agent, as are Walter Sande, Richard Powers and Morris Ankrum, as Government military men, and Willis Bouchey, as the President."[4]

Allmovie critic Bruce Eder praised the film, writing, "Red Planet Mars is an eerily fascinating artifact of the era of the Red Scare, and also the first postwar science fiction boom, combining those elements into an eerie story that is all the more surreal because it is played with such earnestness."[5]

The film critic Dennis Schwartz panned the film in 2001, writing, "One of the most obnoxious sci-fi films ever. It offers Hollywood's silly response to the 1950s 'Red Scare' sweeping the country".

British critic Leslie Halliwell described the film as "lunatic farrago that has to be seen to be believed".

References

[edit]
[edit]
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Red Planet Mars

View on Grokipedia
from Grokipedia
Red Planet Mars is a American directed by Harry Horner, starring as scientist Chris Feldman and as his wife Eve, who detect radio signals from Mars revealing a technologically advanced, theocratic society adhering to . The narrative unfolds amid tensions, where the Martian messages—initially misinterpreted as originating from a by a rogue German scientist but ultimately confirmed as authentic—expose Earth's moral failings, incite mass religious revivals, and precipitate the collapse of the as populations reject atheistic materialism in favor of faith-based governance. Adapted from the 1932 play Red Planet by John L. Balderston and John Hoare, the screenplay by Balderston and Anthony Veiller emphasizes themes of divine intervention and , reflecting early 1950s American anxieties over Soviet expansion and secular ideologies. Produced on a modest budget by , the film features stage-bound sets and dialogue-heavy scenes typical of theatrical adaptations, prioritizing ideological messaging over . Released in June 1952, it garnered mixed reception for its overt religiosity and propagandistic elements, with critics noting its appeal to audiences seeking reassurance amid geopolitical strife, though it has since been critiqued as a product of McCarthy-era fervor.

Development and Production

Source Material and Adaptation

The 1952 film Red Planet Mars is adapted from the stage play Red Planet, written by John L. Balderston and John Hoare and first performed on Broadway on December 18, . The play depicts scientists receiving radio transmissions from Mars that convey advanced knowledge and ethical guidance, positioning Martian civilization as a model for reforming Earth's chaotic society amid economic and social turmoil of the early Depression era. In the original script, these interstellar messages are ultimately revealed as a terrestrial engineered to manipulate global opinion, emphasizing speculative scientific and philosophical themes without overt ideological . The screenplay for the film, credited to Balderston and Anthony Veiller, significantly alters the play's narrative to align with mid-20th-century geopolitical tensions, particularly anti-communist sentiments during the early Cold War. While retaining the core premise of Martian radio signals disrupting earthly power structures—initially describing a utopian society with biblical echoes—the adaptation introduces a twist where some transmissions originate from a rogue ex-Nazi scientist aiming to destabilize the Soviet Union, only for authentic divine messages to affirm the signals' veracity and trigger global religious revival. This shift from the play's hoax resolution to a hybrid of deception and supernatural validation reflects Balderston's intent to weaponize the story against atheistic communism, portraying faith as a causal force capable of toppling materialist regimes, as evidenced by the film's climax where Soviet citizens overthrow their government upon receiving confirmatory biblical quotes from Mars. Such changes prioritize ideological messaging over the play's more neutral speculative fiction, adapting pre-World War II optimism about extraterrestrial wisdom into a tool for affirming Judeo-Christian moral realism amid 1950s fears of Soviet expansion.

Pre-Production and Scripting

The screenplay for Red Planet Mars was adapted from the 1932 stage play Red Planet, written by John L. Balderston and John Hoare. The adaptation retained core elements of interplanetary communication and societal upheaval from the original play but incorporated 1950s-specific references to Soviet expansionism and atomic threats to heighten dramatic tension. John L. Balderston, who co-wrote both the play and the film's screenplay alongside Anthony Veiller, brought experience from scripting Universal Studios horror classics, including (1931), (1931), and The Mummy (1932). Veiller, a veteran screenwriter credited on films such as (1937), handled additional screenplay duties and co-produced the project with Donald Hyde under Melaby Pictures. Their script emphasized radio transmissions from Mars quoting biblical passages, framing the narrative as a clash between atheistic and morality. Pre-production occurred in early 1952, aligning with the film's May 15 release by , and marked art director Harry Horner's directorial debut; Horner had won an Academy Award for production design on The Heiress (1949). Actress , cast as Linda Cronyn, later recalled receiving the script that year and initially doubting its potential due to its unconventional blend of and religious allegory, though she found its bold anti-communist stance compelling amid anxieties. The adaptation process prioritized ideological messaging over , with messages from Mars designed to provoke global economic and political disruption, reflecting screenwriter Veiller's interest in propaganda's societal impact.

Casting and Filming

The principal cast of Red Planet Mars was led by in the role of Chris Cronyn, an American scientist who communicates with Mars, with portraying his wife, Linda Cronyn, a fellow researcher involved in decoding the signals. played Franz Calder, a skeptical colleague whose communist sympathies drive much of the interpersonal conflict, while appeared as Admiral Bill Carey, representing military oversight of the project. Supporting roles included as the voice of the Martian emissary Arjenian and Orley Lindgren as the Cronyns' young son, Stewart. The casting emphasized character-driven performances suited to the film's dialogue-heavy script, with Graves, then early in his career, bringing a earnest intensity to the lead amid the era's proliferation of programmers. Filming took place entirely on studio sets at the Motion Picture Center Studios in Hollywood, Los Angeles, California, reflecting the production's modest scale as a black-and-white feature running 87 minutes. Directed by Harry Horner in his feature debut—transitioning from acclaimed art direction work, including Oscar wins for The Heiress (1949) and The Wonderful World of the Brothers Grimm (1962)—the shoot relied on practical effects and matte paintings for Martian depictions, with cinematographer Joseph Biroc employing standard studio lighting to evoke a sense of scientific realism without elaborate location work. Produced by Melaby Pictures Corp. under Anthony Veiller, who also co-wrote the screenplay, the low-budget endeavor prioritized ideological messaging over visual spectacle, completing principal photography prior to its United Artists release on May 15, 1952. No major production delays or on-set controversies were reported, consistent with the era's efficient B-film workflows.

Synopsis

Plot Summary

In the near future, Dr. Chris Cronyn and his wife Linda establish radio contact with inhabitants of Mars using a powerful and transmitter developed from a invented by ex-Nazi Franz Calder. The initial messages from Mars describe a utopian where residents live for 300 years without disease, enjoy unlimited cosmic energy, cultivate super-abundant crops, and maintain perpetual peace without police or military. These revelations trigger economic chaos on , as Martian technologies render terrestrial industries obsolete, causing stock market crashes, mass , and strikes. Later transmissions quote Biblical passages, including the Ten Commandments, and claim that Mars's "Supreme Leader" dispatched a message of divine love to approximately 2,000 years prior, widely interpreted as referring to Jesus Christ. This sparks a global religious awakening, with citizens in the rioting against their atheist regime, leading to its collapse and the restoration of churches. Unbeknownst to the Cronyns, Calder, now collaborating with Soviet authorities from a hidden Andean station, fabricated the early messages by bouncing signals off the to undermine Western and facilitate communist expansion. When an destroys Calder's setup, genuine Martian signals persist, confirming the divine origin of the later communications. Calder, revealed as a Satanist, dies unrepentant, while unites under Christian principles, with the Cronyn family affirming faith in .

Themes and Ideology

Anti-Communist Elements

The film's narrative frames communism as an atheistic ideology fundamentally opposed to moral and spiritual order, using extraterrestrial revelations to catalyze its downfall. Messages purportedly from Mars, quoting biblical passages such as the Sermon on the Mount and emphasizing principles like "love good and hate evil," expose the Soviet regime's suppression of religion and trigger mass uprisings among oppressed populations. In the plot, an ex-Nazi scientist employed by Soviet interests initially broadcasts fabricated signals to destabilize Western economies by eroding faith in capitalism and inducing chaos, portraying communist strategy as reliant on deception and subversion. Subsequent authentic transmissions reveal a Martian society governed by a "Supreme Authority" aligned with , prompting the collapse of godless regimes worldwide. In the , the revelations incite revolutionaries—depicted as aged survivors of earlier purges—to overthrow the , resulting in churches reopening, the restoration of a under an Orthodox , and the cessation of aggression. The U.S. Secretary of Defense, influenced by communist policies, meets a tragic end, underscoring the perceived internal threats of ideological infiltration. This resolution posits religious revival as the causal mechanism dismantling communist tyranny, with global unity emerging under shared . Produced and released on May 15, 1952, amid the height of McCarthyism and nuclear anxieties, the film reflects contemporaneous American fears of communist expansion and domestic subversion, amplified by the Korean War's ongoing stalemate. Adapted from John L. Balderston's 1932 play Red Planet, the screenplay by Balderston and Anthony Veiller intensifies anti-communist elements absent in the original, aligning with cultural pushes for religious patriotism, such as Billy Graham's crusades, to counter perceived Soviet . Critics have noted its heavy-handed , yet it substantiates the era's causal view that faith-based societies inherently outperform materialist ones in sustaining and prosperity.

Religious and Moral Framework

The film's religious framework centers on a depiction of Martian civilization as a theocratic governed by a "Supreme Authority" identified as , who transmits messages quoting biblical passages to , including commandments on moral conduct and . These transmissions, initially mistaken for advanced alien , culminate in revelations affirming Christianity's core tenets, such as the Tenth Commandment and references to Christ's teachings, positioning as the foundation of societal harmony. The narrative frames this divine intervention as a corrective to 's moral decay, with Martian society exemplifying prosperity through adherence to scriptural ethics rather than secular governance. Morally, the story contrasts Christian virtues—emphasizing individual liberty, family integrity, and accountability to a —with the collectivist, atheistic framework of , portrayed as inherently corrosive to human ethics. The protagonist's wife, a devout Christian, embodies this moral steadfastness by interpreting the signals as godly, influencing her scientist husband to prioritize spiritual truth over empirical . Upon global dissemination of the messages, communist regimes amid uprisings, as populations reject materialist ideology in favor of biblically inspired , leading to the restoration of monarchies and free enterprise under religious principles. This resolution underscores the film's assertion that moral order derives from , rendering atheistic systems unsustainable. A secondary , a former Nazi , articulates an opposing moral view by interpreting as the Bible's heroic figure against a tyrannical , highlighting the film's binary framing of religious fidelity versus godless rebellion. Ultimately, the moral framework advocates for not merely as a personal ethic but as a civilizational imperative, capable of resolving geopolitical and existential crises through faith's unifying .

Science Versus Faith

In Red Planet Mars (1952), the narrative centers on the tension between empirical scientific inquiry and religious belief, embodied primarily through the protagonist, Dr. David Potter, a rationalist physicist who develops a shortwave radio device capable of piercing Earth's atmospheric interference to contact Mars. Potter's approach exemplifies mid-20th-century scientific optimism, rooted in technological progress and materialist explanations, as he initially interprets Martian signals as evidence of an advanced, atheistic society with superior technology but no spiritual dimension. This contrasts sharply with his wife Eve's devout Christianity, who interprets the same signals—once they shift to quoting the Ten Commandments and biblical passages—as divine revelation, urging Potter to reconcile science with faith rather than dismissing the messages as anomalies or hoaxes. The film's messages from Mars progressively undermine scientific by depicting Martian society as a governed by biblical principles: inhabitants live to 300 years without , , or , attributing their harmony to adherence to God's laws rather than technological or ideological innovations like . This revelation triggers global chaos, as stock markets collapse and communist regimes falter under mass conversions to , illustrating the film's argument that pure fosters and economic exploitation, while provides an objective ethical framework capable of sustaining . Critics note this as a conservative ideological stance, where alone proves insufficient for human flourishing, leading to societal decay akin to the portrayed communist systems. Potter's internal conflict peaks when U.S. government pressure demands he debunk the signals to restore order, pitting his scientific integrity against evidence that challenges materialist ; he grapples with the possibility that empirical tools have inadvertently accessed transcendent truth. The resolution validates 's supremacy: a hidden Nazi scientist confesses to fabricating initial religious messages to destabilize the West, but subsequent authentic signals—manifesting as a global vision of Christ's silhouette—confirm divine intervention, affirming that true aligns with, rather than opposes, religious reality. This portrayal reflects 1950s anxieties, where atheistic ideologies were equated with scientific hubris, and emerged as a bulwark against .

Release and Reception

Initial Release and Box Office

Red Planet Mars was released theatrically in the United States on May 15, 1952, by distributor . The independent production, directed by Harry Horner and produced under Melaby Pictures, emerged during the early surge in science fiction cinema fueled by anxieties. As a lower-budget feature starring and , it received a standard theatrical rollout without noted premieres or wide promotional campaigns in major trade publications. Box office records for the film are limited, consistent with its status as a non-major studio release. Estimates place domestic grosses at around $1.8 million, far below top 1952 earners like This Is Cinerama or Singin' in the Rain, which exceeded $10 million each, underscoring its modest commercial footprint. No international earnings or profitability details are prominently documented, reflecting the era's uneven tracking for B-movies outside blockbuster circuits.

Contemporary Critical Response

Critics in 1952 responded to Red Planet Mars with a mixture of bemusement, dismissal, and occasional acknowledgment of its thematic ambition, often viewing its fusion of science fiction, religion, and anti-communist allegory as overwrought. Bosley Crowther, writing for The New York Times on June 16, 1952, lambasted the production as "a grotesque, almost insane fantasy, told in deadly earnest," faulting its contrived plot and propagandistic tone for undermining any sense of plausibility or entertainment value. Crowther highlighted the film's reliance on static dialogue and improbable revelations from Mars, which he saw as serving ideological ends rather than narrative ones, reflecting broader skepticism among establishment reviewers toward Hollywood's explicit Cold War messaging. Trade publications adopted a more pragmatic stance, prioritizing commercial viability over artistic critique amid the era's political sensitivities. Variety's review, published shortly after the film's May 1952 premiere, described it as a "curious and original attempt to combine with religious fantasy," noting its talky, stage-bound quality but suggesting the provocative premise could appeal to audiences seeking moral uplift. The publication avoided deep engagement with the film's controversial content—such as the collapse of Soviet power following Martian advocacy of biblical principles—opting instead for bland descriptiveness, perhaps to sidestep backlash in a McCarthy-era climate where anti-communist films faced scrutiny from both left-leaning critics and industry watchdogs. This tempered assessment underscored Variety's focus on box-office potential for a low-budget release, estimating moderate draw from religious and patriotic viewers despite technical limitations like minimal . Smaller outlets and regional reviewers echoed the divide, with some praising the performances of and for lending sincerity to the material, while others decried the screenplay's as stifling dramatic tension. For instance, contemporary accounts noted the film's earnest exploration of versus resonated with conservative audiences but alienated those expecting escapist sci-fi, positioning it as a niche product rather than a mainstream success. Overall, the critical consensus leaned negative, with the film's ideological explicitness—uncommon even in genre fare—contributing to its reputation as earnest rather than sophisticated cinema, though its prescience on space-age moral debates garnered passing nods.

Modern Reassessments

In the post-Cold War era, scholars and critics have reevaluated Red Planet Mars as a quintessential artifact of 1950s ideological fervor, highlighting its unambiguous anti-communist messaging alongside a critique of materialist secularism. Cyndy Hendershot, in her analysis of science fiction B-movies, describes the film as embodying "anti-communism and ambivalence," where the Martian revelation undermines both Soviet atheism and Western capitalism's excesses, portraying a divinely ordered society as the antidote to earthly tyrannies. This perspective underscores the film's rejection of dialectical materialism, aligning with empirical outcomes such as the Soviet Union's 1991 collapse, which validated concerns over centralized planning's inefficiencies and moral voids, though Hendershot notes the narrative's internal tensions in equating communism with godlessness without fully endorsing unchecked markets. Recent film restorations and home video releases, such as the 2024 Blu-ray edition, have prompted reassessments emphasizing the movie's prescience in anticipating space-age theological debates amid real-world advancements like NASA's Mars missions. Reviewers praise its bold integration of into extraterrestrial contact narratives, contrasting with modern secular depictions of that prioritize technological over metaphysical inquiry. For instance, the film's depiction of a Martian broadcast—framed as of —resonates in contemporary discussions of arguments in cosmology, where data from telescopes like Hubble (launched 1990) and James Webb (2021) reveal cosmic constants suggestive of intentional design, though the movie's pseudoscientific radio transmissions remain implausible given verified radio horizon limits and lack of atmospheric interference on Mars. Critics in the and often highlight the film's enduring relevance to polarized , interpreting its collapse of communist regimes via moral awakening as a against ideological extremism, applicable to both historical Marxism-Leninism and current collectivist movements. Trailers From Hell commentator (2018) argues that the film's "kooky" premise mirrors today's "absurd, irrational political extremes," where faith-based resistance to echoes dissident movements in regimes like or pre-1989 states. Time Out's 2012 retrospective labels it "the nuttiest sci-fi pic of all time," yet acknowledges its "barnstorming" fusion of paranoia with , critiquing mainstream media's tendency to dismiss such works as mere while overlooking their causal links to real geopolitical shifts, such as the Hungarian uprising influenced by smuggled religious texts. These views counter earlier dismissals by noting the film's avoidance of jingoistic violence, favoring non-violent ideological subversion—a empirically effective in the Reagan-era information campaigns that accelerated Soviet decline.

Legacy and Impact

Historical Context and Prescience

was released on May 15, 1952, at the height of early anxieties in the United States, shortly after the Soviet Union's first atomic bomb test in 1949 and amid the (1950–1953), which heightened fears of global communist expansion. The film's narrative, involving radio communications from a Martian civilization that upholds biblical morality, directly confronted Soviet atheism and materialism, portraying them as unsustainable ideologies destined to crumble under exposure to divine truth. This reflected the pervasive anti-communist ethos of the era, including the (HUAC) hearings and Senator Joseph McCarthy's accusations of subversion within American institutions, which intensified from 1950 onward. The production drew from John L. Balderston's play Red Planet, adapting it to emphasize ideological warfare over military confrontation, a theme resonant with 1950s fiction's frequent allegories for the . Critics and historians have identified the film as a rare explicit cinematic critique of in the genre, contrasting with more allegorical works, and it encapsulated hopes that spiritual revival could avert nuclear without direct superpower clash. In retrospect, the film's prescience lies in its depiction of communism's internal collapse triggered by religious resurgence, paralleling the Soviet Union's dissolution in 1991, where Mikhail Gorbachev's unleashed suppressed Orthodox Christianity and peasants recovered hidden icons buried during Stalinist purges. This outcome validated the narrative's causal assertion that atheistic regimes, deprived of moral foundations, prove brittle against faith's enduring appeal, as evidenced by the Catholic Church's role in Poland's movement eroding communist control from 1980–1989. Moreover, the emphasis on extraterrestrial signals promoting ethical governance anticipated modern searches for intelligent life via , though the film's theological resolution diverged from secular scientific expectations.

Cultural Influence and Controversies

The film Red Planet Mars has exerted limited direct influence on subsequent cinema, primarily serving as a historical exemplar of mid-20th-century genre works that intertwined extraterrestrial contact with geopolitical and theological agendas. Produced amid heightened tensions, it exemplifies how 1950s sci-fi often portrayed advanced alien societies as moral superiors to earthly , a motif echoed in broader cultural narratives of the era but rarely replicated in later mainstream productions due to its overt propagandistic style. Its depiction of radio messages from Mars precipitating global religious revival and the downfall of atheist regimes contributed to early explorations of "first contact" scenarios where superior civilizations enforce ethical hierarchies, influencing niche discussions on versus secular governance in . Critics and scholars have highlighted the film's role in amplifying anti-communist sentiment through fantastical means, positioning it within a wave of B-movies that leveraged to propagandize against Soviet influence by framing godless ideologies as inherently unstable. The narrative's climax, where Martian revelations lead to the collapse of communist governments and their replacement by theocratic systems, has been cited as advocating universal as a geopolitical remedy, reflecting Jack Chertok's intent to merge with anti-Red Scare rhetoric. Controversies surrounding Red Planet Mars center on its unabashed promotion of religious absolutism and demonization of , which some contemporary reviewers and later analysts viewed as hysterical fearmongering rather than balanced storytelling. Released in June 1952, the film drew accusations of exploiting public anxieties for ideological ends, with its of forged Martian messages by a Nazi defector underscoring a causal link between totalitarian and atheistic , unsubtly equating Soviet with . Academic examinations, such as those in science fiction studies, note its ambivalence in anti-communist tropes—portraying Soviets as redeemable yet ultimately subordinate to divine order—while critiquing the era's hyperbolic for prioritizing over narrative coherence. Despite its low budget and modest box-office performance, the film's enduring notoriety stems from this fusion of genres, often invoked in analyses of how Hollywood navigated McCarthy-era pressures without facing widespread backlash.

References

  1. https://www.imdb.com/title/tt0045073/
  2. https://sf-encyclopedia.com/entry/red_planet_mars
  3. https://www.tcm.com/tcmdb/title/17286/Red-Planet-Mars/
  4. https://scifist.net/2020/10/24/red-planet-mars/
  5. https://www.nytimes.com/1932/12/19/archives/mars-as-the-source-of-a-new-civilization-in-a-drama-entitled-red.html
  6. https://atomicjunkshop.com/mars-needs-christians-red-planet-mars/
  7. http://www.bewaretheblog.com/2022/08/john-l-balderston-writing-classic.html
  8. https://www.moriareviews.com/sciencefiction/red-planet-mars-1952.htm
  9. https://scififilmfiesta.blogspot.com/2013/05/red-planet-mars-1952.html
  10. https://www.andreaking.com/film-appearances/red-planet-mars/
  11. http://laurasmiscmusings.blogspot.com/2024/01/tonights-movie-red-planet-mars-1952-mgm.html
  12. https://archive.org/details/rpm44589898
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  14. https://scifist.wordpress.com/2015/12/13/red-planet-mars/
  15. https://andersonvision.com/red-planet-mars-1952-blu-ray-review/
  16. https://www.imdb.com/title/tt0045073/releaseinfo/
  17. https://zipcon.net/~swhite/docs/filum/sci-fi_failures.html
  18. https://www.yumpu.com/en/document/view/26762473/boxoffice-march081952
  19. https://www.ultimatemovierankings.com/top-grossing-movies-of-1952/
  20. https://time.com/archive/6869492/business-re-united-artists/
  21. https://online.ucpress.edu/sfs/article/28/Part%25202%2520%2884%29/246/209079/Anti-Communism-and-Ambivalence-in-Red-Planet-Mars
  22. https://robotswithcoffee.com/2021/12/01/movie-review-red-planet-mars-1952/
  23. https://www.timeout.com/movies/red-planet-mars
  24. https://thelastdrivein.com/2016/09/05/%25F0%259F%259A%2580-keep-watching-the-skies-science-fiction-cinema-of-the-1950s-the-year-is-1952/
  25. https://catalog.afi.com/Catalog/moviedetails/50625
  26. https://psi329.cankaya.edu.tr/uploads/files/Doherty%252C%2520Cold%2520War%252C%2520Cool%2520Medium%2520Television%252C%2520McCarthyism%252C%2520and%2520American%2520Culture%2520Film%2520and%2520Culture.pdf
  27. https://www.currentaffairs.org/news/2024/02/the-dystopias-of-yesterday
  28. https://www.scifist.wordpress.com/2015/12/13/red-planet-mars/
  29. https://online.ucpress.edu/sfs/article/28/Part%25202%2520%2884%29/246/209079
  30. https://online.ucpress.edu/sfs/article-pdf/28/Part%25202%2520%2884%29/246/867771/sfs.28.2.0246.pdf
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