20,000 Leagues Under the Sea

I found this film extraordinary, if for no other reason than the fact, that that they used underwater photography showing divers in deep sea helmets using what looked to be rifles with spears attached (early spear guns, I imagine) actually shooting at a large group of sharks swimming around them. I also didn't see any air lines attached to any of these divers, however, if you looked closely, you could see some air bubbles come out of the helmets of the divers every so often. They must have been using some type of compressed air with a regulator, however when I queried Google, I was informed that SCUBA wasn't invented until 1939 for the US Navy and the air regulator hadn't been invented until 1943 by Jacques Cousteau. There was a device that contained compressed air in a belt attached to a diver's helmet that was invented in 1825 but that would only allow a diver to stay under 7 minutes. Were they really able to get all of the shots with the divers within that time frame. Very curious. Does anyone have the technical details for how this film was accomplished? I give this film a 9 for technology and a 5 for story line and acting for a 7 overall.

This film combines plot elements of Verne's original 20,000 Leagues Under the Sea and Mysterious Island, then adds its own subplot involving the origin of Captain Nemo that ties everything together. I was very impressed by the writing. This was the first major film with underwater photography. The set design was impressive. I found the diving suits to be particularly interesting--essentially early versions of scuba gear. The new score fit very well into the story. All in all, a wonderful and landmark achievement in filmmaking.

Underwater films are as popular today as ever in movie theaters. These motion pictures lend even the most of us landlubbers an idea how the ocean underneath the waves looks. The first feature movie to contain underwater footage is December 1916's "20,000 Leagues Under The Sea." This Jules Verne-based picture was the cinematic debut of screening submerged film footage, showing divers, a fake octopus, fish, including sharks and seabed scenery to amaze viewers back at a time when no one had ever seen under-the-ocean moving images before.

Brothers George and J. Ernest Williamson in 1914 made their experimental film, "Terrors of the Deep," also named "Thirty Leagues Under The Sea," using their newly-invented camera containing reflector mirrors running down a long tube to shoot underwater footage in the clear, relatively shallow waters of the Bahamas. An illuminating light next to the tube's lower end allowed the film to capture a moving world where no motion picture crew had been able to photograph before. The brothers promised investors who had put money into the project they would show a diver killing a shark. To make that happened, they dangled a dead horse over the side of their boat to attrack the predators. It worked.

Universal FIlm Company loved the Williamson film so much they made plans to base the underwater footage the brothers were assigned to shoot around an 1870 Jules Verne book, "20,000 Leagues Under The Sea," with director/actor Stuart Paton playing Captain Nemo. Actually, the movie was the merging of two Verne novels, "Leagues" and "The Mysterious Island."

The Williamsons returned to the Bahamas to shot scenes dictated by the script. Disney's 1954 film crew for its "20,000 Leagues Under The Sea" returned to the same spot in the Bahamas to shoot its underwater footage. The sprawling 1916 film was expensive to make in its two-year production, which included a flashback sequence towards the end employing hundreds of extras amidst elaborate India-style sets. The movie, although extremely popular, never produced a profit, discouraging Hollywood from making another Verne film for 12 years until ironically the part-talkie, two-color Technicolor MGM's "The Mysterious Island" was released in 1929.

OK, this movie isn't at all faithful to Verne's novels (both 20000 leagues & Mysterious island), but who cares. It was too difficult for that time to stay close to the characters and to the relationship between Arronax and Nemo, which is based on the talking, showing different philosophical points of vue. So there we stick to a melodrama full of suspense and action. The pacing is quite fast, for a 1916 movie. A lot of characters and settings are involved, the cinematography is most of the time quite good and the actors are... so so. But it's the editing that attracts attention here, in a griffithian narration full of "parrallel editing" as we say in french. Some sequences are composed of four or five parallel actions, and sometimes flashbacks are used to add another dimension to the melodrama. The same fact is related three times by three different characters, each flashback being longer than its predecessor until the final revelation (that we can guess early in the film, but, as for most of gender movies, the pleasure for the viewer comes from the combination between waited events and surprising elements) narrated by Nemo himself. I don't know anything as for the origin of the version I own on DVD, so this editing question is to stay questioned. But as it is there (I saw the 1h45 version, a Jokanan copy), it's a really imaginative movie, a sort of serial with a complexer narration. It is sometimes a little boring anyway, especially when it deals with Arronax and co (Ned Land is useless, and the real hero of the movie arrives later on) and with submarine sequences (no so many, in fact, but a little childish sometimes). The documentary aspect is anyway interesting (the shark scene, an early Cousteau sequence) and from an historical point of view those sequences are very important.

A good movie, not as brilliant as the Fleischer version, but entertaining and representative of the evolution of American cinema at that time.

Just for the record: it's quite possible that the Nadia anime series by Anno Hideaki have been highly inspired by this movie (I won't say anything else, avoiding spoilers. Watch for yourself).

This may have been thrilling in 1916, but today it seems more of a curio. The Williamson brothers invented a camera to take pictures underwater, (the prologue tells us, complete with photos of them) so there's lots of shots of fish swimming, the bottom of the sea, men in diving suits and one battle with an octopus, which was a bit fuzzy. Still, the sense of watching movie history was strong, but don't expect too much in light of more modern techniques. What really bothered me was the hammy acting styles, with lots of arm motions and exaggerated facial features. It's the style that gave silent films a bad name. One who avoided this was Matt Moore, the hero of the film, and the only actor I recognized. Perhaps that is why he was still making movies in the 50's. The film uses plot elements of Verne's "The Mysterious Island" as well as "Twenty Thousand Leagues Under the Sea."