In Wilcox’s film, a jewel of 1950s American science fiction, Captain Adams and his crew land their spaceship on the planet Altair in the year 2200. After the mysterious disappearance of a prior expedition, the planet’s sole inhabitants are the scientist, Professor Morbius and his daughter. Adams makes a sensational discovery: the original inhabitants of the planet, the Krell, an alien race of geniuses who had reached a very high level of civilisation, had destroyed themselves because their sophisticated machinery, able to transform thought into matter, had also unleashed the uncontrollable instinct of their subconscious, theirid. In the end Morbius destroys this monster at the cost of his own life. This film, which may be interpreted as a science fiction version of Shakespeare’s Tempest, contains all the themes and clichés of its genre, but they are handled with greater technical mastery and conceptual depth than in the many serial products of its time: the mystery of the subconscious, human incapacity to control knowledge, the fascination and risks of hyper-technology, the fear of the unknown. Fifty years after the first cinematographic trip to the Moon of George Méliès, the conceptual realm of science fiction films had changed considerably, marked by the awareness that oftentimes a trip into the cosmos is really a trip into the infinitely small, but equally mysterious, world of our inner souls.