Raumpatrouille - Die phantastischen Abenteuer des Raumschiffes Orion

"Raumpatrouille" was the very first sci-fi series I had the pleasure to watch. My elder brother and me sat in the living room, watching Dietmar Schönherr, Eva Pflug and all the other noble astronauts battling the "Frogs" or renegade robots on a b/w screen.

I was 9 years old, and the whole thing struck me completely. Oh, how i envied a classmate of my brother, who owned Peter Thomas's movie theme on a 12", starting with that unique metallic countdown. For a year I was painting spaceships and foreign planets. Not that i wanted to become an astronaut, but a normal family life with a normal wife, normal kids and a normal job on a normal spacestation would do just fine.

Now that most of us have taken the red pill, passing the outer rims of the known universe in cryosleep, side by side with sigourney, to the proverbial hell and back, the poetry and twinkling of the first days are almost gone.

I got me the series on video, but i can't get back that incredibly "involved" feeling. It was part of the times, i guess. This kind of future really belongs to the past. Yet, none of it's successors made me feel like "orion" again. No, wait: the first "Star Wars" episode (or Episode Four, aargh...) had a comparable impact back in 1977.

Brilliant "space patrol" series complemented by Peter Thomas' famous soundtrack.

Incredibly, even today (2020) the special effects and sci-fi environment - though dated and in 60s style - don't seem absurd and are still fairly convincing. This speaks for the visionary achievement of the series' creators at the time of production during the "space race" years, ahead of the 1969 moon landing.

Raumpatrouille and the Orion's rebellious commander Cliff Mc Lane are obvious templates later copied to create StarTrek and captain Kirk. The series is a genre-defining masterpiece with quirky dialogues and enjoyable plots. Highly recommended for sci-fi fans!

In September of 1966, a ground breaking science fiction series premiered on television, one that despite its sadly brief time on the airwaves, would remain a well remembered and well regarded cult favourite, surviving its broadcast demise for decades after with new adventures in prose fiction. Debuting on Westdeutscher Rundfunk (WDR) on September 17, 1966, SPACE PATROL - THE FANTASTIC ADVENTURES OF THE SPACESHIP ORION was like nothing ever produced before for television.

The scope of the series, both in concept and execution was grand. The setting for the series was explained each week in the opening narration:

What sounds like a fairy tale today, may be tomorrow's reality. This is a fairy tale of the day after tomorrow. There are no more nation- states; only humanity and its colonies in space. Distant stars have been settled. The ocean floors are inhabited. Space ships cross the galaxy at unimaginable speeds. One such ship is the Orion - a small link in a great chain of defence against threats from space.

Unlike the disciplined heroes of contemporary American fare such as STAR TREK or VOYAGE TO THE BOTTOM OF THE SEA, the crew of the Orion were incorrigible mavericks. In the very first episode the Orion is demoted from active service in the space fleet and relegated to space patrol, the equivalent of galactic traffic cops, for their latest act of disobedience. The Orion's skipper is Major Cliff Alistair McLane (Dietmar Schönherr) a war hero, a man of unquestionable ingenuity, courage and fierce sense of loyalty, yet he is dangerously reckless with little respect for authority and an utter contempt for bureaucracy. His crew would willingly follow him into hell, knowing that if any man could get them back out it would be McLane.

Despite McLane's habitual insubordination, his value is recognized by both his former superior, General Van Dyke (Charlotte Kerr) and General Wamsler (Benno Sterzenbach) the commander of Terrestrial Space Reconnaissance. It is Wamsler who arranges for the Orion to be reassigned to the Space Patrol, rather than have them face court- martial. However as a condition of this, he also assigns them a new crew member, Lieutenant Tamara Jagelovsk, a GSD (Security Services) agent to keep them in line. Initially at odds with his new watchdog, McLane discovers that Jagelovsk, with her cool efficiency and by-the-book nature, is not the millstone he expected and the two quickly develop a considerably less antagonistic relationship.

The other members of the Orion's internationally flavoured crew were weapons officer Lt. Mario de Monti (Wolfgang Völz), engineer Lt. Hasso Sigbjörnson (Claus Holm), astronavigator Lt. Atan Shubashi (F.G. Beckhaus), and communications and space surveillance officer Lt. Helga Legrelle (Ursula Lillig).

It is shortly after their reassignment to the Space Patrol that the crew of the Orion discover a new and unprecedented threat to humanity, on Earth and in space - a race of technologically advanced energy creatures, nicknamed the Frogs, bent on the destruction of mankind. The Frogs and their machinations would serve as the main threat for the duration of the series' run. Other episodes featured such familiar SF concepts as rebellious robots, deranged scientists and lost Earth colonies.

While many of the scientific concepts in the series seem incredibly simplistic today, if not patiently ludicrous, the stories themselves were highly inventive and entertaining. The series made full use of teleVISION, showing, rather than talking about space battles, exploding planets and alien worlds. Unlike other productions where the stories had to reign themselves in to what it was considered possible to visualize with the budgets and technical limitations of the day, the special effects people at Bavaria Atelier seemed to be up to any challenge the script writers could throw at them.

Technically SPACE PATROL was far superior to anything seen on American television, and, for that matter, in most contemporary theatrical films. The show abounded with complex matte shots, miniature work and optical effects, ranging from floating robots to the semi-invisible Frogs, to a giant super nova hurtling through space, to an entire planet ripping apart before the viewer's very eyes. Every opportunity was taken to make the show look more impressive. The Orion didn't simply launch from a pad, it rose from a gigantic hanger on the ocean floor, up through the aquatic depths, then emerged from a spinning whirlpool to lift into the sky. Even what could have been conventional sets were enhanced with complicated optical shots, such as the lounge in the frequently visited Starlight Casino which featured a transparent ceiling allowing patrons to watch giant fish swimming past as the relaxed.

Only seven episodes of SPACE PATROL ORION were produced, broadcast biweekly from September 17 through to December 10th, 1966. Unlike STAR TREK, which suffered from general viewer apathy, SPACE PATROL ORION was immensely popular during its initial run. Unfortunately in Germany the concept of audience size at that time meant very little. In 1966 there were only two television channels, WDR and ZDF; both non-commercial, government run public television services. And so, after the end of its first, all too brief run, the complex and very costly RAUMPATROUILLE ORION passed into television history.

The crew of the Orion continued to have new adventures in one hundred and forty-five SPACE PATROL ORION novels, later reprinted in TERRA ASTRA, published between 1968 and 1984. The original television adventures were released in Germany on VHS in 1993 and then on DVD a mere six years later. The DVD set remains available and is a highly recommended way to enjoy this classic television adventure series.

Orion is undoubtedly the best sci-fi TV series ever made. I recently discovered that some scenes from the first episode are clearly inspired by the Russian SF film Ikarie XB. The best programs from the early days of television were probably made by people with experience in the film industry. The famous BBC quality for drama also arose because people from the film industry started working for the BBC.

Having now watched all 7 episodes, I have to say I am quite impressed! I guess that it must be compared to its contemporary, Star Trek, the original series. It was made far more cheaply and it shows.

TOS had similar constraints, but the quality of the background paintings and costumes was better. Of course STTOS was shot in color and Raumpatrouille really should have been. Maybe someday a colorized version of the episodes will be released. I don't think the series has a region 1 DVD release as of yet, but more people in America need to see it. It's original air dates make TOS being a major influence unlikely, but like TOS, I think the creators were looking closely at Forbidden Planet.

This show showed *much* more equality of women than STTOS. At least one was a general in command of a starship. On the other hand, there was not a black or brown face to be seen. They never give a year for when the action is taking place, but it is a time in the future when nations no longer exist. The names of the crew members of Orion indicate they are at least from all over Europe. The assigned security officer, Tamara Jagellovsk, seems to be Russian. The Captain, Cliff McLane, is possibly supposed to be American. The Female general is apparently Dutch, but nobody is African, Chinese, Indian, Arab or any other non white, non-European type. I guess all of them are minding the store on Earth. So they have different blind spots from those of Gene Roddenberry.

The series ended after a mere seven episode at least partially because it couldn't sell to international markets like the USA and Japan because it was in black and white, but it did spawn a few dozen spin off novels that have never been translated into English.

I would urge *anyone* who has even a passing interest in SF TV to catch up with this series.