Blasting off like a winged bullet into the Final Frontier, this sleep Art Deco module en route to it lunar destination spectacularly promotes the 1929 Swedish release of Woman in the Moon.Blasting off like a winged bullet into the Final Frontier, this sleep Art Deco module en route to its lunar destination spectacularly promotes the 1929 Swedish release of Woman in the Moon, directed by Fritz Lang, the genius behind the undisputed sci-fi classic, Metropolis. The premise of Manraketen can best be described as The Treasure of the Sierra Madre meets Plan 9 from Outer Space, concerning the collection of lunar gold and the squabbling racketeers who venture to retrieve it. Though the film is alternatively enjoyably overwrought and icily stoic, it's the science portion of the science-fiction present that make it truly interesting in retrospect. The rocket is surprisingly ahead of its time: this is the first mention ever of liquid rocket fuel, not just in film but anywhere. Theres also a countdown to the launch, at first intended merely as a device to build cinematic tension, but later taken up by real science. Also, the rocket is in two stages. Lang was wise enough to hire a Hungarian scientist as a technical expert, and the results obviously paid off. Additionally, it's the first mention of the suspected zero-gravity effect in popular fiction - although it only lasts for a few minutes when the gravitational forces of the Earth and the Moon cancel each other out. Most astoundingly, when the Nazis began tinkering with long-range missiles, they had the scale models from the film destroyed and the film itself withdrawn from circulation. Of course, there are the things the filmmakers didn't quite get right, such as the snow on the moon, its breathable air, suitable gravity and a danger-fraught landscape, but why focus on the negative when the positive is vastly more interesting.