L'isola misteriosa

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.

THE MYSTERIOUS ISLAND is a mixed silent / "talkie" film about Count Dakkar (Lionel Barrymore) and his visionary creation of early submarine technology. He wants to explore the ocean floor in order to find a race of deep-sea humanoids. Unfortunately, Dakkar makes the mistake of letting the ruthless Baron Falon (Montagu Love) in on his plans. Falon has big plans of his own for Dakkar's invention, none of them good.

For it's time, this movie has incredible special effects, including the army of fish-men superimposed with a "giant" octopus and a caiman as a finned, aquatic "dinosaur". The miniature work is also amazing, as are the bulbous diving suits during the finale.

An exciting, highly entertaining sci-fi / adventure film from beginning to end...

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.

In the days before the advent of the Talking Picture, few stage performers were destined to succeed in making the transition. Among the more prominent of these thespians was Lionel Barrymore. Few actors ever emerged from Broadway, then to radio and finally up onto the silver screen. In one of the more collectible early films was this adventurous tale called " The Mysterious Island " in which he played the Jules Verne character Count Andre Dakkar, which took audiences to that the incredible Isle. In this early and mostly Silent, Black and White film, Barrymore plays a futurist scientist who builds a Undersea craft with which he plans to visit the incredible city of the Undersea people. Jacqueline Gadsden plays his daughter, Countess Sonia Dakkar (Jane Daly) and Nikolai Roget (Lloyd Hughes) her intended. However, the heavy, Baron Hubert Falcon (Montagu Love) has his own plans for her, but needs to capture the strange craft for world conquest. Despite the film being poorly cut and the primitive 'talkie' is plagued with many 'silent' segments, the story is easily carried by the cast. Further, if an audience is Patience and not overly critical, the viewing is enjoyable. Seeing this movie in the light of it being an early entry in the world of films, one can understand why it became a Classic in 1929. ****

Count Andre Dakkar (Lionel Barrymore) considers himself a scientist and rules his island as a benevolent leader. He creates submarines to search for a suspected underwater civilization. His daughter Sonia falls in love with engineer Nicolai Roget. Despotic ruler Baron Falon disapproves of the mixing of the classes. With revolution brewing in the Kingdom of Hetvia, Falon seizes the island and hopes to use the research submarine vessels as weapons. The Count and Sonia face torture. Nicolai returns with the first submarine to rescue them. Under attack, they are forced deeper and deeper until they discover the sea people.

The Jazz Singer was released two years earlier. This is still mostly silent with a few scenes with sound. It's also an early colored film but I didn't see that print. The TCM showing looks black and white. It is loosely adapted from Jules Verne. It faced a long production as film technology started to change. The story is high adventure. There are miniatures, creatures, and midget sea people. It is the fun of simple thrills.