Chelovek-amfibiya

Perhaps this is one of the best Sci-Fiction film ever produced in the history of cinema for its content. Its presentation may not be the best due to color problems and very much evident make up of the actors and actresses. I assume that the story was going on in a territory of any Latin American country, probably Mexico. The plot is about a young man able also to live normally in the sea. His father, a scientist and physician, built up a laboratory in the depth of the ocean where his son passes part of his life. Being a rare organism, his father always warned him not to visit nearby city, but love came over when he met a nice lady sinking in the sea, and with this all problems started. The film showed that early 60s the Soviet directors and producers were not very much aware of the music in Latin America. Dancing was Spanish-like and not Latin American as such. Names chosen for the heroes of the film were also rare. The lady is called Gutiere when Gutiérrez is a common surname in Spanish, then Ichtiandros is the name of the main actor of the film, again an invention. In any case, it is nice to see several shots made in the sea, in a really beautiful environment, and also to see nice diving and swimming of various actors. Excitement is also assured in this material. However, it does not have the Hollywood-Happy End. It is more realistic in its end. The film has also its morale showing the miseries of people trying to make money, no matter if it is playing with the life of a human being.

On the Argentine coast, the locals live in fear of the "sea devil", a fish-man who has been frequently spotted in the nearby ocean. In reality, he's Ichtyandor (Vladimir Korenev), a young man who was born human, but with a deadly lung disease. His brilliant scientist father Professor Salvator (Nikolai Simonov) grafted shark gills onto the boy, relieving his ailment and granting him the ability to breathe underwater. One day Ichtyandor rescues beautiful young woman Gutiere (Anastasiya Vetinskaya), and he falls instantly in love with her. Unfortunately, she's been promised in marriage to lout Pedro (Mikhail Kozakov). Also featuring Anatoliy Smiranin, and Vladlen Davydov.

I really enjoyed this colorful and energetic romance. It exists in its own, slightly surreal world, which is exaggerated by the setting and the characters all being Argentinian, yet played by Russians in the Russian language. The direction is propulsive and inventive, and there's a quaint joy to the 60's era aesthetic seen in the fish-man's silver suit and his father's high-tech lab home. I also appreciated the film's sense of humor. Recommended.

I also saw this movie as a kid on late night TV. I never forgot it and would love to see it on DVD. I think it was the first time I fell in love. The leading man/fish is one of the most beautiful and sweet characters I had ever seen.

I finally saw this movie for the first time tonight, and thought it was enthralling. It creates a mood and a vibe with its music and imagery that sort of draws you into its dreamy embrace. The two lead characters are both so beautiful that it gives the movie a storybook quality. Acting is impressive. Science fiction takes a distant back door to romance in the storyline., but the small role it plays really enhances the drama of the story. If you are enamored of more modern cinematography, the production values in Amphibian Man will seem primitive, but if you appreciate old film styles, this is a classic piece of art from the early 1960s.

1961's "The Amphibian Man" (Chelovek-Amfibiya) was that rare Soviet title that crossed the Atlantic relatively intact, bypassing Roger Corman for a straightforward dubbing job that reduced the running time from 96 to 82 minutes but otherwise remained as faithful to its source as the Czech "Voyage to the End of the Universe." Only a year or so before John Lamb's "The Mermaids of Tiburon" offered a beautiful tail to tell for masculine viewers (as played by Diane Webber), here we have a male version to engage the female contingent. Vladimir Chebotaryou and Gennadi Kazanskiy are listed as codirectors of this adult fairy tale of love beneath the waves, kicking off in typical Hollywood frenzy with reports of a strange aquatic creature terrorizing South American beaches (shot off the scenic Crimean coast), convincing wealthy sea captain Pedro (Mikhail Kozakov) to switch from pearl diving to monster hunting while his reluctant bride Guttiere Baltazar (Anastasiya Vertinskaya) only agrees to marriage for the sake of her financially strapped father (Anatoliy Smiranin). An attempted escape goes awry when she dives into the water and loses consciousness as a menacing shark approaches, rescued from certain drowning by the 'Sea Devil' that Pedro is searching for, hardly the fearsome description of the papers but an all too human figure (Vladimir Korenev) wearing an elaborate costume of webbed hands and feet. The young man is named Ichtyandr, son of renowned scientist Salvator (Nikolai Simonov), who was forced to transplant a shark's gills to replace his offspring's damaged lungs, enabling him to exist above and below the water, essentially a first step to create a utopian society that will live in freedom beneath the sea. Guttiere is unaware of the identity of her actual rescuer (Pedro takes the credit), and is startled when Ichtyandr calls to ask if she's all right from his place on the ship's anchor, so smitten with this never before seen vision of loveliness that he braves the big city against his father's wishes to find her. For one who has lived a sheltered life away from the trials and tribulations of humanity, the lad is literally a fish out of water when dealing with greed and prejudice, still making a strong impression on the girl, who feels a flattering connection to him for his unwavering admiration for her. Pedro is never far away to squash their blossoming romance, and her refusal to accept his unconditional gift of pearls shows how misplaced pride can often be. An audience used to viewing wild stories set in outer space may well be taken aback by this tender, inner space venture, fabulous underwater photography and solid characterizations ensuring great success in its native Russia (a reported 65.5 million theater goers), yet for decades poor quality prints in the West have done it few favors. "The Amphibian Man" and "The Mermaids of Tiburon" both share the need to supply a villain to provide conflict, perhaps unnecessary and almost guaranteeing a downbeat finale.