Buck Rogers in the 25th Century (1979)

PG | 89 mins | Science fiction, Adventure | 30 March 1979

Director:

Daniel Haller

Producer:

Richard Caffey

Cinematographer:

Frank Beascoechea

Production Designer:

Paul Peters

Production Company:

Universal Pictures
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HISTORY

       According to production notes in AMPAS library files, the character “Buck Rogers” debuted in 1929 as a comic strip, developed by publisher John F. Dille, leader of the National Newspaper Syndicate. Dille commissioned illustrator Richard Calkins and writer Philip Francis Nowlan, who based the strip on his 1928 fantasy story Armageddon 2419, in which Buck Rogers was originally known as “Anthony Rogers.” Later, the character was adapted for a radio program in 1932 and a movie serial in 1939, starring Larry “Buster” Crabbe.
       During the late 1960s, news about various Buck Rogers film projects appeared in the trades. ABC Films planned to produce a feature as a launch for a television series, which was announced in a 3 Jun 1966 HR brief. The following year, according to a 8 May 1968 DV brief, producers Ivan Reiner and Walter Manley intended to release a 70mm roadshow version for Metro-Goldwyn-Mayer through their production company Ram Films. A 24 Dec 1969 Var item mentioned that Vista Industries, which controlled certain rights to the character, was in talks with three studios for a potential film.
       When Universal Television acquired rights, they debated whether to adapt Buck Rogers as a television series or theatrical feature, as reported by a 7 Jun 1977 DV article. According to Universal Television president Frank Price, the property was obtained prior to the influence of Star Wars (1977, see entry), and he cited the comic strip character “Flash Gordon,” which also was adapted for different media, as the inspiration for developing the project.
       The production was eventually shot as ...

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       According to production notes in AMPAS library files, the character “Buck Rogers” debuted in 1929 as a comic strip, developed by publisher John F. Dille, leader of the National Newspaper Syndicate. Dille commissioned illustrator Richard Calkins and writer Philip Francis Nowlan, who based the strip on his 1928 fantasy story Armageddon 2419, in which Buck Rogers was originally known as “Anthony Rogers.” Later, the character was adapted for a radio program in 1932 and a movie serial in 1939, starring Larry “Buster” Crabbe.
       During the late 1960s, news about various Buck Rogers film projects appeared in the trades. ABC Films planned to produce a feature as a launch for a television series, which was announced in a 3 Jun 1966 HR brief. The following year, according to a 8 May 1968 DV brief, producers Ivan Reiner and Walter Manley intended to release a 70mm roadshow version for Metro-Goldwyn-Mayer through their production company Ram Films. A 24 Dec 1969 Var item mentioned that Vista Industries, which controlled certain rights to the character, was in talks with three studios for a potential film.
       When Universal Television acquired rights, they debated whether to adapt Buck Rogers as a television series or theatrical feature, as reported by a 7 Jun 1977 DV article. According to Universal Television president Frank Price, the property was obtained prior to the influence of Star Wars (1977, see entry), and he cited the comic strip character “Flash Gordon,” which also was adapted for different media, as the inspiration for developing the project.
       The production was eventually shot as a mini-series for National Broadcasting Company (NBC), at an estimated cost between $3 and $4 million, but the network cancelled the arrangement, and Universal decided to debut Buck Rogers in theatrical venues, according to articles in the 23 Oct 1978 DV and the 13 May 1979 NYT. As explained in a 28 Mar 1979 Var article, encouraging preliminary grosses from Universal’s other tele-film, Battlestar Galactica (1979, see entry), was also a factor in capitalizing on the project as a theatrical feature. Prior to its nationwide “saturation release” 30 Mar 1979, the world premiere took place 29 Mar 1979 in Little Rock, AR, actor Gil Gerard’s hometown. According to a 2 May 1979 HR article, the film played on pay television beginning 1 Jul 1979 before airing as a pilot episode on NBC in Sep 1979.
       In the 13 May 1979 NYT article, executive producer Glen A. Larson complained that the studio marketed the film too narrowly by focusing on Saturday morning television viewers without considering the potential of the adult market. Nevertheless, the film surpassed $20 million at the box-office after approximately six weeks in release.
      The end credits include the following acknowledgements: “Buck Rogers Characters By Courtesy of Leisure Concepts, Inc. and Robert C. Dille.” and “Produced At Universal Studios, California U. S. A.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
8 May 1968
---
Daily Variety
7 Jun 1977
---
Daily Variety
23 Oct 1978
---
Hollywood Reporter
3 Jun 1966
---
Hollywood Reporter
30 Mar 1979
p. 3, 31
Hollywood Reporter
2 May 1979
---
Los Angeles Times
30 Mar 1979
p. 20
New York Times
30 Mar 1979
p. 12
New York Times
13 May 1979
Section D, p. 15, 28
Variety
24 Dec 1969
---
Variety
28 Mar 1979
---
Variety
4 Apr 1979
p. 20
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXT
A Glen A. Larson Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
Unit prod mgr
1st asst dir
1st asst dir
2d asst dir
2d asst dir
PRODUCERS
Supv prod
Exec prod
Assoc prod
Assoc prod
WRITERS
PHOTOGRAPHY
Dir of photog
Addl photog
Cam op
Cam op
Asst cam
Asst cam
Key grip
Gaffer
ART DIRECTORS
Art dir
Asst art dir
FILM EDITORS
Film ed
Film ed
Asst film ed
Asst film ed
Editorial asst
Editorial asst
Cory McCrum
Editorial asst
Editorial asst
SET DECORATORS
Set dec
Prop master
Prop master
COSTUMES
Cost supv
Cost supv
MUSIC
Mus comp and cond
Mus ed
VISUAL EFFECTS
Visual concepts and eff by
Visual concepts and eff by
Matte artist
Spec eff
Spec eff
Title des
Title des
Titles and opt eff
Addl visual eff supplied by
Miniature and opt eff
Unit supv, Universal Hartland
Unit supv, Universal Hartland
Prod coord, Universal Hartland
Spec eff photog, Universal Hartland
Spec eff photog, Universal Hartland
Spec eff photog, Universal Hartland
Cam, Universal Hartland
Cam, Universal Hartland
Cam, Universal Hartland
Cam, Universal Hartland
Cam, Universal Hartland
Key grip, Universal Hartland
Key gaffer, Universal Hartland
Chief model maker, Universal Hartland
Model builder, Universal Hartland
Model builder, Universal Hartland
Model builder, Universal Hartland
Model builder, Universal Hartland
Model builder, Universal Hartland
Model builder, Universal Hartland
Model builder, Universal Hartland
Eff illustration and des supv, Universal Hartland
Fred Hope
Eff illustration and des, Universal Hartland
Eff illustration and des, Universal Hartland
Eff illustration and des, Universal Hartland
Eff illustration and des, Universal Hartland
Eff illustration and des, Universal Hartland
Spec cam equip, Universal Hartland
Spec electronics, Universal Hartland
Spec electronics, Universal Hartland
Computer graphics, Universal Hartland
Anim and rotoscope des, Universal Hartland
Anim, Universal Hartland
Anim, Universal Hartland
Anim, Universal Hartland
Opt supv, Universal Hartland
Opticals, Universal Hartland
Opticals, Universal Hartland
Opticals, Universal Hartland
Opticals, Universal Hartland
Opticals, Universal Hartland
Opticals, Universal Hartland
Opticals, Universal Hartland
Opticals, Universal Hartland
Opticals, Universal Hartland
Opticals, Universal Hartland
Opticals, Universal Hartland
Opticals, Universal Hartland
Opticals, Universal Hartland
DANCE
Choreog
MAKEUP
Makeup
Makeup
Makeup
Hairstylist
PRODUCTION MISC
Scr supv
Scr supv
Casting
Prod asst
Prod asst
Prod asst
Prod asst
STAND INS
Stunt coord
Stunt coord
Stuntman
Stuntman
Stuntman
Stuntman
Stuntman
Stuntman
Greg Barnett
Stuntman
Stuntman
Stuntman
Stuntman
Stuntman
Stuntman
Stuntman
Stuntman
Stuntman
Stuntman
Stuntman
Stuntman
SOURCES
SONGS
Theme from Buck Rogers, "Suspension," by Glen Larson, sung by Kipp Lennon.
SONGWRITER/COMPOSER
DETAILS
Alternate Title:
Buck Rogers
Release Date:
30 March 1979
Premiere Information:
Los Angeles and New York openings: 30 Mar 1979
Production Date:

Copyright Info
Claimant
Date
Copyright Number
Universal City Studios, Inc.
26 July 1979
PA43512
Physical Properties:
Sound
Color
Color by Technicolor®
Duration(in mins):
89
MPAA Rating:
PG
Country:
United States
Language:
English
PCA No:
25599
SYNOPSIS

In futuristic 1987, astronaut William “Buck” Rogers blasts off on a solo mission aboard Ranger Three, the last deep space probe of the National Aeronautics and Space Administration (NASA). After encountering a violent meteor shower, the spacecraft is thrown out of orbit and drifts off course. The life support system freezes, keeping Buck preserved in a cryogenic state. Centuries later, in the year 2491, Ranger Three is picked up by a flagship belonging to the Kingdom of Draconia, whose advanced technology helps Buck regain consciousness. Kane, an advisor to the Draconian Royal Family, informs Princess Ardala, the commander of the flagship, that the intruder and his antiquated spacecraft appear to be over 500 years old. After Buck introduces himself as a captain of the U.S. Air Force, Kane notifies him that he is now a captive of the powerful Draconian Dynasty, which controls seventy-five percent of the universe. While Buck rests, Kane tells Ardala that he suspects Buck is a military spy for the Federal Directorate of Earth, sent to inspect the Draconian flagship for illegal arms in anticipation of the upcoming peace and trade talks between the two empires. In a plan to expose Earth’s defense shield and to test his spy theory, Kane programs Ranger Three to return Buck to Earth and hides a micro-transmitter on board. If Buck is a spy for Earth, he will be ...

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In futuristic 1987, astronaut William “Buck” Rogers blasts off on a solo mission aboard Ranger Three, the last deep space probe of the National Aeronautics and Space Administration (NASA). After encountering a violent meteor shower, the spacecraft is thrown out of orbit and drifts off course. The life support system freezes, keeping Buck preserved in a cryogenic state. Centuries later, in the year 2491, Ranger Three is picked up by a flagship belonging to the Kingdom of Draconia, whose advanced technology helps Buck regain consciousness. Kane, an advisor to the Draconian Royal Family, informs Princess Ardala, the commander of the flagship, that the intruder and his antiquated spacecraft appear to be over 500 years old. After Buck introduces himself as a captain of the U.S. Air Force, Kane notifies him that he is now a captive of the powerful Draconian Dynasty, which controls seventy-five percent of the universe. While Buck rests, Kane tells Ardala that he suspects Buck is a military spy for the Federal Directorate of Earth, sent to inspect the Draconian flagship for illegal arms in anticipation of the upcoming peace and trade talks between the two empires. In a plan to expose Earth’s defense shield and to test his spy theory, Kane programs Ranger Three to return Buck to Earth and hides a micro-transmitter on board. If Buck is a spy for Earth, he will be escorted through a secret channel in the planet’s defense shield, and the transmitter will relay the coordinates to the Draconian flagship, providing valuable intelligence for a surprise attack. If Buck is unknown to the authorities on Earth, he will incinerate on re-entry. Within Earth’s airspace, a squadron of military spacecraft commanded by Colonel Wilma Deering intercepts Buck. Unfamiliar with his strange lingo and outdated vessel, they guide him to a docking bay on Earth, detaining him for interrogation and study by Doctor Huer, a leader within the Federal Directorate. During his stay, Buck is assigned a drone assistant named Twiki who carries a talking artificial intelligence computer known as Dr. Theopolis. Although Huer and Theopolis believe Buck is not a threat, Wilma remains distrustful, believing he might be a spy for space pirates. Meanwhile, Buck tries to comprehend that the world he knows is gone and he has arrived in the 25th century. During a tour, Wilma explains that after the nuclear holocaust, Earth’s civilization gradually reestablished itself and built The Inner City near the former Chicago, Illinois. Outside of this modern capital, however, are scorched ruins and a barren wasteland, which is the reason why Earth is dependent on other planets for resources. The purpose of the upcoming trade talks is to seek the Draconians’ cooperation in defending supply routes from pirates and to offer in exchange, landing privileges on Earth. When Buck notices a burn mark on the outside of Ranger Three, he suspects that the Draconians fired on him before towing the spacecraft and warns Wilma that the Draconian “peace” envoy could be secretly armed. After the micro-transmitter is discovered inside Ranger Three’s navigation system, Buck is tried for espionage. Despite testimony that he is a mere pawn, the court finds him guilty of spying and sentences him to termination. However, Wilma gives Buck another chance to prove his innocence by accompanying him on a visit to see Kane and Ardala, whom Buck claims can verify his story. Welcoming them on board the Draconian flagship, the princess appears hospitable, but lies and states that she does not recognize Buck. The greeting is interrupted when Draconian fighter ships, disguised as pirates, pretend to attack their own flagship to avoid any suspicion that Draconia is the real force behind the “pirate” raids on Earth’s shipping lanes. Displaying his dogfighting skills, Buck helps Wilma defeat the hostile assault. At a formal ball on Earth to celebrate the arrival of the Draconian trade delegation, Buck is permitted to attend because Ardala wants to thank him personally for his heroism against the pirates. Meanwhile, Buck reminds Wilma to be wary of Draconians. After the celebration, Buck accepts Ardala’s invitation to return with her that evening to the flagship, unaware that his guardians, Theopolis and Twiki, are following him. In her private chamber, Buck pours Ardala a drink and discreetly mixes it with a powerful relaxant, while the lustful Ardala offers Buck the opportunity to form a powerful new dynasty with her. After Ardala passes out, Buck disarms her bodyguard and infiltrates the docking bay disguised as a Draconian soldier. When the princess wakes, she issues orders for an immediate attack of Earth, despite Kane’s advice to wait for support from King Draco’s forces. After observing warships in the docking bay, Theopolis and Twiki realize that the peace mission was a hoax. As soon as they see Buck dressed as the enemy, they assume he is abetting the Draconian attack. On Theopolis’ instruction, Twiki threatens Buck with a laser weapon. Buck tries to persuade the robots he is on their side and is attempting to sabotage an attack by loading explosives in the tailpipes of enemy warships. Buck explains that the pirate raids were a Draconian ploy to force Earth into a treaty. Theopolis believes Buck and alerts The Inner City to the surprise attack. Thanks to Buck’s strategy, the Draconian warships explode as they launch, allowing Wilma and her Directorate fighters to concentrate their firepower on the undefended Draconian flagship. As Kane and Ardala escape in an emergency shuttle to rendezvous with King Draco’s fleet, Wilma rescues Buck, Theopolis and Twiki from the docking bay before the flagship is destroyed. On the journey back to Earth, Wilma apologizes to Buck on behalf of the Directorate for misjudging his loyalties.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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