20000 Leagues Under the Sea (1954)

Calificación de los usuarios:

7.2/10   

Director:

Richard Fleischer

Escritores:

Jules Verne (novel)
Earl Felton (screenplay)

Fecha de Lanzamiento:

23 diciembre 1954 (USA)

Género:

Aventura | Drama | Familia | Ciencia-Ficción

Frase comercial:

Walt Disney's Mighty, Magnificent, Memorable 20,000 Leagues Under the Sea!

Plot:

A ship sent to investigate a wave of mysterious sinkings encounters the advanced submarine, the Nautilus, commanded by Captain Nemo.

Plot Keywords:

Submarine | Ocean | Captain | Captain Nemo | Atlantis

Premios:

Won 2 Oscars. Another 2 nominations

Comentarios de los usuarios:

A parable, an exemplary sci fi story, a classic tragedy

Reparto

Kirk Douglas	...	Ned Land
James Mason	...	Captain Nemo
Paul Lukas	...	Prof. Pierre Arronax
Peter Lorre	...	Conseil
Robert J. Wilke	...	First Mate of the Nautilus
Ted de Corsia	...	Capt. Farragut
Carleton Young	...	John Howard
J.M. Kerrigan	...	Old Billy
Percy Helton	...	Coach Driver
Ted Cooper	...	Mate on 'Lincoln'

También conocida como:

Jules Verne's 20000 Leagues Under the Sea (USA) (complete title)
Walt Disney's 20,000 Leagues Under the Sea (USA) (poster title)
20.000 leguas de viaje submarino (Spain) [es]

Duración:

127 min

País:

USA

Idioma:

Inglés

Color:

Color (Technicolor)

Relación de Aspecto:

1.37 : 1

Sonido:

4-Track Stereo (RCA Sound Recording)

Clasificación:

Portugal:M/6 | Iceland:L | Finland:K-12 (1955) | Finland:K-8 (1976) | Canada:G (video rating) | New Zealand:G | Australia:PG | Canada:F (Ontario) | France:U | Norway:11 | Spain:T | Sweden:15 | UK:U | USA:Approved (PCA #17073) | Canada:G (Manitoba/Nova Scotia/Quebec) | USA:G (re-rating) (1970) | West Germany:12

Locaciones de Filmación:

20th Century Fox Studios - 10201 Pico Blvd., Century City, Los Angeles, California, USA

Compañía:

Walt Disney Productions

Trivialidades:

The climactic squid battle on the Nautilus was originally shot with a serene sunset and a calm sea. Director Richard Fleischer was troubled by the look of it because the cams and gears that operated the squid could easily be seen, making it look obviously fake. Walt Disney visited the set one day and Fleischer told him about the problem. Disney came up with the idea of having the squid battle take place during a fierce storm (another story is that it was actually screenwriter Earl Felton who came up with the idea). The scene was reshot that way and is considered by many to be the highlight of the film.

Errores:

Errores que Revelan: Ned Land rushes to Captain Nemo's observation window to witness a sinking ship, we switch to the Nautilus' underwater point of view. However, the Nautilus' nose can be seen entering the screen from the right side. [widescreen version]

Citas:

Captain Nemo: I asked you to leave, Professor.
Prof. Pierre Arronax: You also asked me ashore, to show me man's inhumanity to man. Why? To justify this? You are not only a murderer, you are a hypocrite. The proof lies out there.
Captain Nemo: You call that murder? Well, I see murder, too. Not on those drowned faces out there, but on the faces of dead thousands! They are the assassins, the dealers in death. I am the avenger!

Conexiones de Película:

Spoofed in Itchy & Scratchy in Miniature Golf Madness! (1993) (VG)

Banda de Sonido:

A Whale of a Tale

A parable, an exemplary sci fi story, a classic tragedy

This is by far the most literate, the most moving, and the most cinematically sophisticated film Disney has ever made. Those of the reviewers at this (IMDb) site who dismiss it as a kiddie movie, or who sneer at the special effects ("time has not been kind" to this film, one of them says; according to another, "the thrill is gone") seem simply prejudiced, rather like those who automatically deride any film that features Charlton Heston or deals with a biblical theme. It is indeed quite amazing that any special effects filmed in 1954 would continue to stack up so well. (I suppose Lucas or Spielberg could improve on the giant squid today, but so what?)

The acting is almost uniformily superb, although I seem to be in the minority in my opinion that Kirk Douglas' yo-ho-ho cliché sailor is rather wooden. (v. following paragraph) James Mason portrays Captain Nemo as a tragic hero in the classic sense, neither "byronic" nor a "mad scientist": a man so far ahead of his time that the world can only see his invention as a monster to be hunted with harpoons---and yet he is so tragically wounded by the whose malice and envy of lesser men that he has indeed become, in some ways, a monster. Paul Lucas is equally heartrending as Professor Arronax, the good-hearted bourgeois academician who truly believes that anyone can be made to "see reason" and become, in effect, a nice guy. Between these huge opposites are the robust common man of action, Ned Land ("Nemo's cracked", "I want to escape!"), the Professor's worry-wart servant, Conseil (Peter Lorre), and Nemo's equally devoted, spookily laconic First Mate (Robert J. Wilkes).

(I may as well say at the outset that to my mind the characterization of Ned Land, along with Kirk Douglas' stiff and utterly unnuanced portrayal, remains the major fault of the film. I would have liked to have seen an attempt at capturing Verne's taciturn Ned, half-mad from the tension between his enforced submarine claustrophobia and his romantic longing to once again swab a deck, reef a sail, or entrust himself to winds and currents; indeed, according to the novel's Aronnax, Ned's recitals of his adventures are worthy of a "Homer of the North". Most unfortunately, the wisecracking, womanizing Ned of the film seems to reflect Douglas' momentary screen persona more than Verne's character, since it bears so little resemblance to the latter. Also, the fact that Douglas out-bills Mason in credits and advertisements is as weird as the ubiquitous poster art in which Douglas' head is two sizes larger than Mason's.)

Leaving aside my pet peeve (i.e., Douglas), there are many Shakespearean qualities here in addition to the tragedy of Nemo. For one thing, much of the action takes place inside the characters' heads: First Arronax, Conseil and Land analyze Nemo, assaying a most dangerous attempt to ferret out his motivations. Then Nemo analyzes Aronnax who, almost in retaliation, develops his own analysis of Nemo. Then Conseil and Land analyze Aronnax analyzing Nemo. Meanwhile, the claustrophobia of the submarine boat acts on their minds like an amphetamine drug, causing the latter to function more and more frantically for good or ill.

Also like Shakespeare, the dialog (and it is wonderful dialog, grave but also lively with repartee and wordplay--just see the digest of quotes preceding these reviews!) alternates with comic relief and action scenes. As to the former, worry-wart Conseil is extremely funny, one of my favorite lines being his dismissal of Ned's message-in-a-bottle idea: "That went out with Robinson Crusoe! This is the nineteenth century!" And action scenes, as the famous fight with the giant squid, serve the same purpose as the ghosts, sword fights, etc. that the Bard provided for the groundlings---so that it is indeed "family entertainment"; people of all ages can watch this film with pleasure.

Masterfully, the film contains almost precisely the necessary updating to make the story meaningful to modern audiences. The common notion that Verne foresaw atomic power is certainly apocryphal; the Vulcania scenes are adapted from Verne's novel Facing the Flag, even if his super-nitroglycerine "Fulminator" is replaced here by nuclear fission. Nonetheless, Verne's speculations on power do make a good symbolic match with the notion of atomic energy, birthing a very credible meditation on the nineteenth century in the light of its successor. The somber and frighteningly beautiful finale causes us to wonder just at what point before 1900 this or that fateful corner was turned.