He
was a figure who spanned eras, much like Jack Williamson, the science fiction
writer whose family relocated to New Mexico in a covered wagon and is now
remembered for coining the terms “terraforming” and “genetic engineering.” As a
young architect, Chesley Bonestell (1888-1986) literally helped rebuild San
Francisco after the 1906 earthquake, but his astronomical paintings directly
inspired the astronauts and engineers of the Mercury and Apollo missions. The
artist and his art finally get their due in Douglass M. Stewart Jr.’s Chesley Bonestell: A Brush with the Future (trailer here), which screens
during the 2018 Long Beach International Film Festival.
Even
if you do not recognize any of Bonestell’s specific paintings, the look of his oeuvre
will ring a bell. He contributed matte paintings and design work to classic
science fiction films, like Destination
Moon and The War of the Worlds, both
produced by George Pal. Even though he did not work directly on Kubrick’s 2001, special effects supervisor Douglas
Trumbull readily credits Bonestell’s influence. Still, it was Bonestell’s work
illustrating popular science magazine articles and books that really fired the
imaginations of NASA’s future best and brightest.
Yet,
there is even more to the story. Stewart and his interview subjects fully
survey Bonestell’s work, notably including his posters and explanatory
renderings that helped bolster public support for the construction of the Golden
Gate Bridge (he helped shape the future in many ways). Irene Edwards, the
editor-in-chief of Sunset also highlights
some of the early illustrations the very young Bonestell drew for the western
lifestyle magazine. Nevertheless, it is paintings like Saturn as Seen from Titan (incorporated in the one-sheet) and Exploring Mars that truly define his
career.
Bonestell’s
vision of space exploration was filled with awe and wonder, but he also
instilled a sense that it was all just within our grasp. It was not just a
possibility—we’d be fools not to realize our grand potential in space. Although his art will inspire nostalgic
feelings for many admirers, it is not accurate to call them retro. In many
cases, they are still futuristic and may very well remain so for years to come.
It would probably break Bonestell’s heart if he learned America is no longer a
space-faring nation, but that is how things stand. As a country, we have lost
our optimism and become much more risk-averse, which makes it nearly impossible
to do things on the scale of the Moon Landing.
Arguably,
that is why we really need a film like Brush
right now. It is also high time Bonestell received his overdue ovation, as
an artist and a figure of inspiration. There is no question his work stoked the
enthusiasm for the space program and scientific education in general. Plus, his
images are really cool. Shrewdly, Stewart incorporates a great many of them, as
while as commentary from the like of Trumbull, Science Channel astronomer David
Aguilar, Star Wars effects supervisor
Richard Edlund, and rare archival footage of Ray Bradbury.
Stewart’s
approach is pretty straight forward, but Bonestell’s art is so significant,
there is no need for distracting bells and whistles. Frankly, we’d like to see
this film get picked up by American
Masters, because it persuasively makes the case that he was one. Enthusiastically
recommended, Chesley Bonestell: A Brush
with the Future screens this Saturday (8/4), as part of this year’s Long
Beach International Film Festival.
