20.000 Lieues sous les mers

There's something out there roaming the Pacific Ocean destroying a whole lot of shipping and killing a lot of people. The more maritime the nation, the more losses it's suffering. Jules Verne's story has the United States of America taking the first crack at finding what's going on in the Pacific.

On a ship commanded by Ted DeCorsia are two Frenchmen, renowned scientist Paul Lukas and his assistant Peter Lorre. Also along is Kirk Douglas who is crack whaling harpooner.

Of course they meet up with the beast and it's no living thing, but a submarine. This was all new back then, although prototype submarines were used in the Civil War they had limited effectiveness. In fact this particular kind of submarine was something unheard of until the middle of the last century. It's captain is a misanthropic fellow named Nemo, played by James Mason. He's taking it out on the nation's of the world for some personal losses sustained.

His brilliance as a scientist, his refinement also attracts Paul Lukas. But Kirk Douglas just wants to escape because for all of Douglas's carefree philistinism, he sees Nemo as a murderer and a menace. The conflict between both is what drives the story.

20,000 Leagues Under the Sea won Oscars for both Special Effects and Art direction. It is probably Walt Disney's most successful live action film ever done, even beating out Mary Poppins dare I say. Even in this day of computer generated effects, 20,000 Leagues Under the Sea still holds its own with more modern films.

Kirk Douglas enjoyed the part of Ned Land the harpooner and it's a favorite of his today. He might have made a few more films for Walt Disney but for an incident that took place after the film.

Disney was also at the same time creating his first theme park, Disneyland in Anahem, California. When it was opening he invited Kirk and his family to spend the day there on him and he even agreed to furnish a camera crew to follow the Douglas family around as they enjoyed the park attractions.

So Kirk took his wife and his sons and they had a grand old time and got some free home movies as a souvenir. But Walt Disney kept the negative and the films showed up on his Walt Disney Presents television show. Of course Kirk never got paid for this appearance and neither did any of the rest of his family including young Michael Douglas.

Even though this left a sour taste in Kirk Douglas's mouth as he related in his memoirs, The Ragman's Son, he liked his work in this film very much and the part certainly has the same kind of exuberance we expect from a Kirk Douglas movie. Kirk even gets to sing in the film, a nice little sea chantey called A Whale of a Tale. He even made a record of it and I'm sure if you can find it, the item might be worth a few dollars as a collectible.

Right around the time 20,000 Leagues Under the Sea was released the United States Navy launched it's first atomic submarine. In tribute to that most popular of French authors with American audiences, the Navy named the ship the Nautilus. A great tribute to a great writer of fabulous tales of imagination. And Walt Disney couldn't have gotten better publicity had he paid for it.

Don't believe me, I swear by my tattoo.

Robust adventure, albeit one filled with murder, suicide and a bloodthirsty squid, involving nefarious Captain Nemo (played by a bearded, monotone James Mason), arguably the darkest villain in the pre-1979 Disney canon. He is nothing short of a mass murderer, ramming his futuristic submarine into ships on the ocean circa 1868. He explains these are war ships and he is preventing world destruction, but after the unblinking, humorless Captain downs a ship full of sailors, it's clear he's a cutthroat. This makes the future of three shipwreck survivors he has taken aboard all the more desperate, although Kirk Douglas' Ned Land, scalawag and guitar picker, takes all the abuse in stride (indeed, he's flexible in any circumstance). This Disney production has a few lags in the special effects arena, but does have awesome moments. The confined space of the main set can't help but to work against the action, but what a beautifully designed set it is! The actors are colorful, the direction is tight, but there's not a big sense of danger however, as the three survivors don't even seem to fear their fates. *** from ****

This is not my absolute favourite of the live action Disney movies but I am still very fond of it. The pacing can be sluggish on occasions, but compensates hugely are the acting, special effects and the way the story is told. The special effects even after all these years are still highly impressive, and the locations are beautiful. The score is rousing too, and the story is superbly told complete with some clever dialogue. The direction is adept, and the acting is excellent. James Mason plays the cantankerous captain with a certain grit and presence that makes him so compelling to watch, while Kirk Douglas is his usual likable self. All in all, not a favourite but a very impressive film. 8/10 Bethany Cox

20,000 Leagues Under the Sea holds up surprisingly well after almost 60 years. James Mason's portrayal of the eccentric Captain Nemo is both endearing and terrifying. Jules Verne's classic science fiction story is ahead of its time and I feel that this movie does it justice.

The Walt Disney film of 1954, "20,000 Leagues Under The Sea" is nothing short of a masterpiece within its genre. While comparing it to "Gone With The Wind" or "Citizen Kane" might be done by others in calling "Leagues" a 'masterpiece', it would be comparing apples to oranges, for this epic, while not overlong as are most masterpieces, it is completely contained to tell a gripping story with wonder acting, production values and the special effects of the day.

It is had to know where to begin to list the wonderful achievements here, especially in adapting a book of almost a thousand pages, much of it filled with endless lists of the fish and fauna of the sea, of which Jules Verne was especially fond. Such was unfilmable, of course, and the script writer, Earl Felton, was wise in paring down the verbosity of the novel, which, of course, was the usual for the prolix Victorian style of Verne's day. From that wonderful opening of the titles shown against lush drapery illuminated by rippling water reflections of the undersea cast upon it, to the beginning of the inspired, majestic score by Paul J. Smith, one is transported to a fantastic time and place and the artistry to come is well intoned. Customarily, the Director is given the lion's share of the credit for a film's success, but here it is an almost perfect melding of the story, the acting and the visuals as well as the music that combine with seeming effortlessness to entertain.

James Mason as Capt. Nemo is superb, with his wonderful bearing and diction lending the aura of both contained madness and yet sympathetic grace to a character who could have been so easily overplayed. Disney wisely selected Kirk Douglas and Peter Lorre as the physical foils of Nemo and to provide the comic and action relief. Had this not been done, the intellectual bearings of Nemo and Paul Lukas' Professor Arronax would have overloaded and stilted the film, rather the way they do in the novel. Some take exception to the device of "Esmeralda" the seal, but that too is a needed counterpoint to the otherwise dark theme of the implied mission of the Nautilus: the destruction of warships that spread "man's inhumanity to man." Such is the skill of the spare dialogue in the film that one never is hit over the head with the sermon of the hopelessness and wickedness of war and the nations that sponsor it. This film carries the message of the novel, but it never looses sight of its first purpose, which is to entertain. Even the implied nuclear destruction is not trumpeted, but only alluded to, since such energy source was unknown to Jules Verne in the 19th Century, of course, but was highly topical in the 1950s.

One of the glories of the movie is the marked artistry in all the careful details in the film. It was just then that the USA was planning its first nuclear submarines, the first of which was even named the "Nautilus" in memory of this immensely popular film. But the art director, John Meehan, the production designer, Harper Goff, and the set decorator, Emile Kuri, were never carried away by allusions to then modern technology, but kept faith with the setting of the day, by making the ship a wonderful creature-like form, the interiors a skillful blend of needed science for function, coupled with a lush decor that bespoke not only the Victorian times, but also the sensitivity of man of its genius of design. Look at the touches: the electric iris covering the massive bubble window, the fountain in the captain's drawing room, complete with an artistic pipe organ properly intoning Bach's Toccata and Fugue in D-minor, as most appropriate. Even the uniforms and upholstery are embroidered with the 'N' of Nemo's monogram as are the galloons on the edges of the draperies. The inventiveness of the electric charge upon the hull is also one of the clever devices to invoke the future, yet help make the existence of the undersea ship believable.

Everyone who sees this epic will always remember, the night scene of a hand-to-tentacle fight with a giant squid, as truly unforgettable and most appropriate again, for it was only a few years before that the first complete corpse of such a squid was found in complete form and thereby documented what others had only written of. This film exceeded its class in that day and age, yet even if equal actors could have been found for the earlier versions, they would have been too early to truly depict the vision of Jules Verne's technology of the future.

Some have criticized that the entire novel was not on film, but were the entire book to be filmed, it would exceed five hours, and Disney knows that even with the finest production, a film must be limited to approximately two hours in order to get both an audience willing to sit through it, as well as exhibitors willing to show it. In making a movie, the constraints are much more severe than in writing a novel; a movie is a collaboration of many people and many conflicting desires and egos must be assuaged. The flow of an entertaining story is paramount, since this was never to be a documentary. Each actor's agent works to try to get the maximum time on screen for his client, which gets maximum credit and fee for the actor. The limitations of filming such an imaginative novel also created large costs which the producers would try to show on screen to justify it all to the accountants, since a film is created with the aim of making a profit for the studio and its investors. We must agree that they succeeded in making one of the most interesting and visually spectacular films ever made, whereas the book contained a great deal of unfilmable ichthyology that was more of an excursus into the expertise of Jules Verne than any dramatic device. All in all, I think that were Jules Verne alive in 1954, he would have been well pleased with this celluloid version of his epic story.