The Mysterious Island

After three years MGM finally completed and released The Mysterious Island in 1929 with sound grafted into the film. Though the grafting is rather evident it doesn't take away from the film itself and the enjoyment thereof.

This could easily have been a disaster for MGM. In their first two years the production costs of Ben-Hur and The Big Parade had the top brass worried. Fortunately both proved to be box office smashes and insured the survival of the studio. The Mysterious Island had that kind of ambition behind it and didn't do as well as those two classics, but by that time MGM's survival was guaranteed.

Apparently just as they were about to release it, sound was gaining more popularity and it was decided to add some dialog and sound effects. In a book about the Barrymore family Louis B. Mayer thanked whatever Gods he worshiped that the hero and villain of his film, Lionel Barrymore and Montagu Love were both theatrically trained players with marvelous speaking voices.

In fact one of the great things about the film is that the longest sequence with dialog is right at the beginning and it's between Barrymore and Love and it sets the stage for the whole film. In 1929 just about every film had overacting in it as players were getting used to sound. But there's not a trace of it in this sequence as both of these veterans by instinct knew how to handle the microphone.

MGM had a lot of shooting problems getting the special effects right, but for their time what came out was pretty darn good.

What they didn't do is use any part of Jules Verne's book other than the title. Barrymore is both a member of the nobility and a scientist who lives and works on his own island off the coast of some Balkan country. His island is a dead volcano the peasants all work for Barrymore in his experiments, but hardly in the same way they did for Dracula or Frankenstein. Montagu Love is another noble who has ambitions to take over the kingdom and would love to get his hands on the prototype deep sea submarine that Barrymore is constructing. He does of course and Barrymore gives chase down to the depths where they encounter a host of underwater marvels including giant sea creatures and a race of men who've developed just as man has in the deep ocean.

This early attempt at science fiction is a landmark film and deserves to be recognized as such. Though Jules Verne wouldn't have recognized his story, the film is still a good one and even the obvious grafting of sound and dialog on the film doesn't hamper it's entertainment value in the least.

This spectacular but ill-fated film was MGMs entry into the SF/Fantasy mini-boom of the 1920s. Attempting to cash in on the success of blockbusters such as The Lost World (1925) and The Thief of Bagdad (1924) Louis B. Mayer ordered a script fashioned which would be an amalgam of several Verne novels, with plot elements borrowed from 20,000 Leagues Under the Sea, Master of the World, Michael Strogoff, along with the title book itself. As if to signal their hopes for the film to the world, the producers hired Lloyd Hughes, bright-eyed leading man from The Lost World, to play their hero and also retained the services of cameraman J. Ernest Williamson, who had photographed the groundbreaking underwater scenes featured in the 1916 version of 20,000 Leagues Under the Sea. The production was an exceptionally troubled one. The Mysterious Island was three years in the making, delayed and delayed, once by a hurricane that completely destroyed Williamson's underwater film laboratory. The decision to make the film in Technicolor (the original two-strip process introduced earlier in 1926 with Fairbanks's Black Pirate) was impeding progress as well. Then, just as the silent version of the film was approaching completion, the Talkie revolution swept the industry. This sent the filmmakers back to the drawing board yet again, where they reconceived the movie as a predominantly silent picture with several lengthy sound sequences. This decision not only necessitated a great deal of re-shooting, but also the replacement of Warner Oland (originally cast as the heavy of the piece, Baron Falon) with character actor Montagu Love. By the time The Mysterious Island was ready to show publicly it had cost the studio over 4 million dollars, an astronomical sum by the standards of the day. It was far and away MGMs most expensive project to date;and the future of science fiction in film was riding on its success. Those who did see The Mysterious Island during its original release certainly got an eyeful. Reclusive Count Dakkar (Captain Nemo's real name, by the way, as revealed by Verne in the 20,000 Leagues sequel) uses a spectacular volcanic island near the Baltic kingdom of Hetvia as home base for his scientific experiments. There he constructs two futuristic submarines with which he intends to investigate his theory of a mysterious race of half-human fish men living at the bottom of the sea. Just as the first of these submarines sets out on its sea-trials, however, Dakkar's old friend Falon betrays him, overruns his island with soldiers, and takes the Count and his sister Sonia hostage. Using them as bait, Falon lures the first submarine, captained by Dakkar's chief engineer Nicolai Roget, back into port and sinks it with cannonballs. As it descends uncontrollably into the depths, the triumphant Falon boards the second boat, which will now become an undreamed-of weapon of destruction in his ruthless and ambitious hands. The Baron hasn't reckoned on the determination of Sonia, however, who is willing to sink the second sub as well, with herself and Falon on board, rather than see her brother's work used for world domination. As Submarine #2 follows the other into the hopeless abyssal depths, The Mysterious Island begins to unleash its impressive array of special effects. Though undoubtedly crude by today's standards, these effects (similar to those seen in Thief of Bagdad) are nonetheless wonderfully imaginative, having something of the appeal of an elaborate puppet show. And the rigid diving suits the aquanauts use during the finale are worthy of mention also; somehow fanciful and yet believable at the same time, they're still impressive today. I think the drama in The Mysterious Island works well, too. Lionel Barrymore's transformation from idealistic, would-be benefactor of humanity into embittered vigilante is quite effective, and the torture scene that brings about this transformation is wrenching. Much has been made of the film's lack of fidelity to the original book;too much, in fact. What the filmmakers seem to have envisioned was an epitome of Verne, an attempt to capture the essence of the Vernian world rather than a literal adaptation of any one book. This being the case, I think it's interesting just how many of the author's themes did make it into The Mysterious Island. In fact, if you stopped the film just before the end it would work as an interesting prequel to Disney's 20,000 Leagues Under the Sea. The traumatic events that ignited Captain Nemo's anti-war crusade, merely alluded to in the Disney version, are vividly depicted here. At any rate, The Mysterious Island was, as you may have guessed by now, an abject failure at the box-office. For reasons that aren't quite clear, audiences of 1929 stayed away in droves and the film recouped less than ten per cent of its negative cost. The impact of this calamity, both on MGM and on the rest of Hollywood, would be difficult to overstate. The Mysterious Island disaster not only frightened producers away from Jules Verne, it cast a stink of failure over the entire concept of science-fiction cinema, a stink that clung to it for nearly 25 years. On the rare occasions when a sci-fi theme or concept did make it to the screen during the Thirties or Forties it was as part of a horror movie or in a cheap serial made for children. The Mysterious Island, in other words, managed to nip the whole burgeoning genre in the bud. The film itself was forgotten by MGM and nearly lost, perhaps on purpose. Even today, it can only be seen in black and white; no Technicolor print is known to exist.

Mysterious Island, The (1929)

*** (out of 4)

I seemed to enjoy this one a tad bit more than Mario. The film tells the simple story of a scientist (Lionel Barrymore) who creates a submarine so that he can go to the bottom of the ocean to look for life. My main problem with the film is probably its historic nature in the fact that it was started as a silent film but production got pushed back so much that MGM decided to shoot some sound scenes and include them. The start of the film is sound and none of it worked for me. Like most early sound films, the dialogue was badly recorded and it really was boring and make me want to doze off. When the silent section, pretty much the rest of the film, started, I thought the film took off like a rocket. There was plenty of action from start to finish and I also enjoyed the underwater scenes. Hundreds of midgets were hired to play the sea creatures and I thought they looked pretty good. The alligator turned dinosaur was silly but the huge squid was nice. Barrymore, in the sound portion of the film, is all over the place but I thought his silent scenes were a lot better. I've always felt he was better in silents and to see him act here silent and sound was interesting to say the least.

I really enjoyed this mess of a movie from MGM, based on Jules Verne's book. Lionel Barrymore stars as Count Dakkar (Captain Nemo in the book), a brilliant scientist and inventor with a volcanic island laboratory. The island is part of a larger kingdom known as Hetvia, and Dakkar's research efforts are put on hold when his former friend Falon (Montagu Love) decides to stage a coup. He tortures Dakkar in order to obtain his many scientific secrets, but Dakkar escapes and joins a group of opposing forces in an effort to stop Falon.

This was a troubled production, taking years to complete. It started out as a silent, but as sound came into vogue, they reshot only parts with full sound, while leaving the majority of the film silent, using title cards, and also adding sound effects and a score. Lucien Hubbard wrote the script and got final screen credit for direction, too, although footage had been shot as far back as 1926 by directors Maurice Tourneur and Benjamin Christensen. The movie is an exciting adventure for the first 2/3 or so, but when the action goes undersea, we head into fun & bizarre territory, with a race of duck-faced undersea people, a giant octopus, and an alligator with a horn glued on his snout. Being Pre-Code, this has some surprising moments of violence. The disparate pieces of this don't go together smoothly, and the ending seems kind of rushed, but I liked this oddity a lot. Recommended.

I was looking forward to this one for several reasons: the fact that I've watched and enjoyed the 1961 remake featuring the model work of effects wizard Ray Harryhausen, because of a still of one of the film's sea creatures (found in an old anthology of Sci-Fi cinema belonging to my father) which had always intrigued me, and also due to the uncredited contribution of a couple of (now rather neglected Silent-film stylists) – Benjamin Christensen and Maurice Tourneur.

Still, now that I've caught up with the film, I have to say that it didn't live up to my expectations: the biggest problem is that, for an adventure epic, it's rather dull – perhaps the behind-the-scenes turmoil which saw the production go through three directors, as well as the addition of clumsily-integrated Sound sequences (not bad in themselves, particularly a lengthy conversation near the beginning between Lionel Barrymore and Montagu Love), diffused any momentum the picture might have had! Then again, the plot itself (which probably has little to do with Jules Verne's original) isn't exactly inspired: the Russian-style setting is a mistake and the love triangle/class struggle element really bogs down the proceedings.

What makes the film, therefore, are the submarine/underwater sequences – even if the monster attacks themselves are somewhat lame (featuring nothing more imaginative than an alligator made-up to look like a dinosaur[!] and a rather small octopus). Leading lady Jane Daly – whose last film this was – is lovely but her role has no depth (besides, her ostensible propensity with the sub's gadgetry is hard to take); lamentable but, thankfully, brief injections of comedy are provided by the ubiquitous "Snitz" Edwards – and a thinned-down Gibson Gowland (the imposing star of Erich von Stroheim's GREED [1924]) appears as one of the sub's crew.