U-4000 - Panik unter dem Ozean

I appreciate Honda Ishiro. For all the movies he made, he found his most lasting fame with tokusatsu and kaiju, and just as some are more famous than others, some are unexpectedly fantastic. Sci-fi lark 'Latitude Zero' doesn't count among the man's most well-known pieces, and it may not necessarily be one of his foremost successes either, but there's a great deal to admire here in every capacity, and it's easy to get swept along for the ride. Why, just the fact of this being a joint production between Toho and U. S. company National General is a tiny bit of a marvel, particularly when one takes into account the multinational cast (Joseph Cotten! Cesar Romero!), and the fact that this was an unlikely instance of a Toho flick filmed in English. Once we start digging into the substance there's so much more to take in, and while the sum total may not altogether demand viewership, it's solidly enjoyable on its merits, and remains an enchanting viewing experience.

Composer extraordinaire Ifukube, a common collaborator of Honda, contributes a score just as superb as we'd ever assume of him. Rich, flavorful, and dynamic, the themes cover a spectrum even wider than usual for Ifukube as we get everything from thunderous and dramatic chords of action and turmoil, to soft, delicate phrases of awe-inspiring mystery and wonder. Even if his music here is not so remarkable and memorable as other examples, as ever it is impossible to imagine the picture without it. That's one definite highlight, and for that matter the first to greet us, but there's also no getting around how gorgeous the production design and art direction are. Tremendous detail was poured into every set, and often texture, too, and by this measure alone the feature is a sight for sore eyes. That's to say nothing of choice filming locations, the costume design, hair and makeup, props and vehicles, and so on. And then there's the effects. Darling of the industry as Tsuburaya Eiji rightfully is, he's an icon fairly mentioned in the same breath alongside select others like Ray Harryhausen and Stan Winston, and with many instances here we again see why. The volcanic eruption at the beginning is itself a treasure, and once we factor in models and miniatures, composite shots, moving earth or water, fire and explosions, smoke, stunts, special makeup, and more, it's safe to say that Tsuburaya is another reason to celebrate this film in one measure or another as we're taken on a rather otherworldly journey.

Granted, it's not as if everything in 'Latitude Zero' represents the total top of the line. In this case the creature effects leave a bit to be desired as the suits worn by actors portraying giant rats, bat men, and Malic's "griffin" are oddly subpar for the bodies of work of either Honda or Tsuburaya. Speaking of suits, the wardrobe provided for women is often a bit tiresome, for this is one of those genre efforts where "futuristic" equates to revealing clothing for women (but not for men). Meanwhile, though none of the acting is outright bad, the least that can be said is that this is a title in which the performers mostly don't get an opportunity to illustrate their earnest skills. A small moment between Romero and Patricia Medina is a rare counterexample, but for the most part the actors are gleefully hamming it up and overacting, recalling, say, contemporary 'Star Trek.' Granted, this is no specific mark against the cast, nor Honda - in fact, as they work from Sekizawa Shinichi's screenplay, adapting Ted Sherdeman's serial, one readily recognizes the fun-loving, adventurous vibes of unremitting genre fare of past eras. Indiana Jones, Fantomas, Flash Gordon, pulp novels and comic books, two- or three-reel westerns, science fiction of the silent era: these are the true kin of this production, more than any movies of the 50s and 60s, and so the direction, acting, all the most simplified or unabashedly forthright facets of the writing, and even the most obvious effects are maybe not so gawky as they may outwardly seem. Admittedly, though, that still doesn't mean the results are perfect, and it takes some getting used to.

Yet looking for minutiae to criticize in such flicks is kind of beside the point, isn't it? Fanciful as the story is, and for as much as this sometimes asks of us as viewers in different ways, 'Latitude Zero' is just here to have a good time. That it happens to involve some very familiar and esteemed names is sort of just a bonus as it tells an interesting and compelling story with strong scene writing. I find no especial fault in Sekizawa's writing as he embraces the tenor of the material, nor in Honda's direction as he brings the tableau to bear. We can harp on those bits and bobs that don't meet the same standards as what we've seen before from these folks, but does that really matter so much anyway? The whole may not be a complete must-see, but it's entertaining, and well made more than not - with some elements being altogether exceptional - and that's all it needs to be. Curiosities and all, I'm glad I took the time to watch, and if one is open to pictures of this nature, I'm pleased to give 'Latitude Zero' my warm recommendation.

As was the norm in the 60's, Japanese filmmakers used old-time American actors to help market their films in the US and Europe. Such Hollywood classics such as Raymond Burr ("Godzilla"), Nick Adams and Robert Horton ("The Green Slime") made a second career by appearing in Japanese sci -fi.

Joseph Cotton ("Citizen Kane"), Cesar Romero (TV "Batman's" original Joker) and Richard Jaeckel ("The Dirty Dozen", "Spenser:For Hire", "The Green Slime"), were another three who appeared in this offbeat blend of sci-fi and fantasy.

Cotten has his hands full as a Captain Nemo-esque commander of the super sub Alpha (an odd coincidence, since he later played the famous submariner in MGM's "Captain Nemo and the Underwater City"), fighting against a mad scientist (Romero) with a penchant for splicing together mutant creatures to rule the world. Jaeckel plays the reporter tossed into this crazy conflict, which has little or no plot or character development, but is just your average no-brainer popcorn flick perfect for the fanboy in all of us.

A strange twist was the marketing of this film as a sequel to the live action version of the anime movie "Atragon", another super sub movie that bears absolutely no resemblance in design or plot to "Latitude Zero".

This truly is the father of modern day Power Rangers, Star Blazers and much,much more. Not only does this have great US actors, but has all the classical features we now see in everyday television and movies. Example: People dressed up in Bat creature costumes, Flying submarines, etc. In contrast to todays movies with would seem to be rather lame, but overall if you take the total context of what is being shown you'll love it. It is not every day that you see great actors interacting with special effects creatures and under the direction of a great Japanesse director. Remember this try as you might you can not see this movie today due to it's being shelved back in Japan. I have tried to obtain it, tried to get various TV stations to play it all to no avail.

Two very old men do battle do with each other with the use of fantastic hardware.

My favourite Japanese/American co-production ever made!

Those early scenes of Latitude Zero are very Voyage to the Bottom of the Sea-ish, in fact I almost felt like I discovered some long lost Irwin Allen production when recently viewing Latitude Zero for my first time!

The colourful lines given to Cotten and Romero are what stand out in my memory more than anything else. But the blinking light computer hardware and energetic musical score are stand outs. The land sets at the end are very impressive.

Please note, the later sections of the movie turn into this oddball horror show with a surgical operation like no other seen in the history of film. At one point I had to turn away from the screen.

The is a highly underrated movie and a nice mix of Japanese and American film making. For all fans of the 1966 Adam West Batman series as this is basically Romero doing The Joker without white make up.

Scientists are descending in bathyspere when an underwater volcano erupts. They are saved by a submarine commander on his futuristic sub the Alpha who takes them to a mystical and wonderful place named Latitude Zero, where the adventure is this action packed Japanese film begins.