L'Atlantide

Stangely, I had never seen this film and, stranger still, I had high hopes for it as some kind of 'discovery'. Yes, I knew its long history, its several directors, and its difficult production... yet, the mythic story always has held interest. Well, I finally obtained an only 'fair' copy, and, sigh, the film is really almost as poor as had been reviewed at the time. The wonderful surprise, however, is that Montez looks at her most beautiful in this black-and-white film! Jean Pierre Aumont and Dennis O'Keefe TRY to show some logic amidst a script that makes absolutely no sense. A fantasy about Atlantis can be fun, but this plodding, ill-written wreck shows its deficiencies too eagerly-- the mysterious entrance to the 'lost continent' (which seems to be one building, hardly even a city block) is easily reached. Where is the atmosphere coming from in the midst of the Sahara? And the water? And the people who know how to dance hoochi-koochi? There is a poetic fantasy screaming to come out, but it would require a good writer, ONE director, and some color. I was truly disappointed to find that I now believe all of the negative(s) that have been this film's historical document.

Before the 3-M's, Marilyn Monroe, Jane Mansfield, and Mamie Van Doren...

There was Maria Montez.

Sultry, Underused Sex-Siren of the 40's.

Here Her Beauty Stands Out Among the Gloomy, Depressing Sets and Story of a Deadly, Timeless, Ancient Remnant of a "Queen".

This Time it's Atlantis.

But in this Ultra-Low Budget Movie there is No Sprawl of the Island Extravagances.

Just a Few Torch-Lit Rooms, Unics, and Dancing Girls.

It's All Heavy Romantic-Fantasy Melodramatics with Montez Mesmerizing any Male that Dares Breathe the Same Air.

The Accents are as Heavy as the Norish Lighting and the Mood.

Maria Montez seems to be Having a Great Time with it All as the Men are Suicidal, Homicidal, and a Mess at Montez's Whim.

Some Iconic B-Actors Show Up, like Dennis O'Keefe and Henry Daniel as a Gay Voice that Can't Stop Commenting on the "Handsome Men".

But it is Montez and the Mood that Makes this Syrupy Delight.

Along with the Prevalence of Phallic Symbols with the Lurid Pulp Magazine Sensibilities.

For Fans of Eroticism and B-Movies, Definitely....

Worth a Watch.

This film is a combination of a subtle adventure and love, mystery and revenge and abandonment in the unforgiving Sahara desert.The mystery queen Antinea, of the lost Atlantis, has a penchant for embalming her lovers and using them as ornamental statues in her gallery, until finally, she met a lover who could resist her charms. It is a real pity that this movie is not available on VHS or DVD.

The setting of this film suggests that it will be similar to the escapist fare which Montez starred in at Universal. She plays the man-hungry Queen Antinea of Atlantis, which is located inside a mountain in the Sahara Desert, into which two officers of the French Foreign Legion stumble. Within this setting, however, the story played out is not an action adventure, but psychological melodrama, involving a femme fatale, obsession, deception, jealousy, murder, guilt, repentance, and fatalism.

There are many noirish resonances: the monochrome photography of the claustrophobic torchlit chambers of the underground kingdom, the obsession of St. Avit (Jean-Pierre Aumont, Montez' real life husband) for the queen, the amoral cynicism of the court librarian Blades (Henry Daniell), and the alienation of all the characters. The nearest thing to normality is the Legion outpost. The film ends with a strong suggestion that nothing has been resolved and that the same sequence of events is about to be replayed.

This was Tallas' first film as director. He had previously been an editor, and indeed edited this film as well as directing, but the film's producer, Seymour Nebenzal, probably had more influence over the mood of the piece. Two years earlier he had produced "The Chase" (which also ended with the suggestion that it was all about to start again), and three years later produced "M" - clearly a man with a taste for the noir. The two uncredited directors also have noir credentials. Arthur Ripley had directed "The Chase" for Nebenzal, and John Brahm had directed "The Locket."

The film suffers from somewhat disjointed narrative flow in parts, although this may be due to damage to the surviving copies. Whatever its faults, it is better than many reviews suggest, and is surely the weirdest amalgam of exotic "eastern" and film noir that you will ever meet.

Pierre Benoit was then a famous writer :his outlandish novels seem out of time now but at the time his novels were transferred to the screen at such a speed it makes you feel giddy:Feyder ,PW Pabst ,George Ulmer and countless others made their "L 'atlantide ". And "Desert Legion"(1953) starring Arlene Dahl and Alan Ladd is a rip off in disguise. Today,few people still read Benoit in his native land. His name is slowly fading.

Pabst 's movie (1932)outshines all the other versions, by introducing a down-to -earth explanation

Such is not the same is this exotic tale ,where mystery is kept till the very end ; it might be a mirage ,caused by the overwhelming blistering sun .

Jean-Pierre Aumont ,the French romantic young lead of the French thirties co-star with real-life wife Maria Montez ,whose acting talent does not match her beauty ,to put it mildly ; Aumont himself ,sometimes considered a bland thespian in his native France,has here a tendency to overplay, his eyes supposedly haunted by this cruel magnificent queen ;with its lascivious dances ,its duels ,its pasteboard palace , the film is actually a forerunner of the Italian peplum which would thrive ten years later.

Entertaining on a rainy day ,if you do not ask too much.