IMDb > Krakatoa: East of Java (1969)
Krakatoa: East of Java
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Krakatoa: East of Java (1969) More at IMDbPro »

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Overview

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5.4/10   848 votes »
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MOVIEmeter: ?
Up 173% in popularity this week. See why on IMDbPro.
Writers:
Cliff Gould (written by) and
Bernard Gordon (written by)
Contact:
View company contact information for Krakatoa: East of Java on IMDbPro.
Release Date:
14 May 1969 (USA) See more »
Genre:
Tagline:
The most cataclysmic event in man's history! See more »
Plot:
The Dutch East Indies, in the late 19th century. Capt. Hanson of the "Batavia Queen" is preparing to embark on a salvage expedition... See more » | Add synopsis »
Plot Keywords:
Awards:
Nominated for Oscar. See more »
NewsDesk:
(2 articles)
R.I.P. Geoffrey Holder
 (From Dark Horizons. 6 October 2014, 8:45 PM, PDT)

Oscar Winner Maximillian Schell Dead At Age 83
 (From CinemaRetro. 2 February 2014, 5:33 AM, PST)

User Reviews:
Krakatoa - just east of laughter See more (32 total) »

Cast

  (in credits order) (complete, awaiting verification)

Maximilian Schell ... Captain Hanson

Diane Baker ... Laura

Brian Keith ... Connerly
Barbara Werle ... Charley

Sal Mineo ... Leoncavallo

Rossano Brazzi ... Giovanni

John Leyton ... Rigby

J.D. Cannon ... Danzig
Jacqueline Chan ... Toshi (as Jacqui Chan)
Robert Hall ... Guard (also as Rob't Hall)
Victoria Young ... Kiko

Marc Lawrence ... Jacobs
Midori Arimoto ... Midori
Niall MacGinnis ... Harbor Master (as Niall Macginnis)
Joseph Hann ... Kuan

Sumi Haru ... Sumi

Geoffrey Holder ... Sailor
Alan Hoskins ... Jan
Peter B. Kowalski ... Peter (as Peter Kowalski)
John Clark
Leoncito Cayetano
Peter Graves
Mike Brendel
Jerzy Radlowsky (as Jerzy Radlowski)
Larry Hawkins
Mark Slaten
José Jaspe
Martín Díaz (as Martin Diaz)
David Aller
rest of cast listed alphabetically:
Eugène Lourié ... Telegrapher (uncredited)
Nikki Van der Zyl ... Toshi (voice) (uncredited)

Directed by
Bernard L. Kowalski 
 
Writing credits
Cliff Gould (written by) (as Clifford Newton Gould) and
Bernard Gordon (written by)

Produced by
William R. Forman .... producer
Lester A. Sansom .... associate producer
Philip Yordan .... producer (uncredited)
 
Original Music by
Frank De Vol  (as De Vol)
 
Cinematography by
Manuel Berenguer (director of photography)
 
Film Editing by
Walter Hannemann  (as Walter Hanneman)
Warren Low 
Maurice Rootes 
 
Production Design by
Eugène Lourié  (as Eugene Lourie)
 
Art Direction by
Julio Molina (uncredited)
Luis Pérez Espinosa (uncredited)
 
Set Decoration by
Antonio Mateos (set decorations)
 
Costume Design by
Laure Lourié  (as Laure De Zarate)
 
Makeup Department
Julián Ruiz .... makeup artist (as Julian Ruiz)
 
Production Management
José Manuel M. Herrero .... production manager
Gregorio Sacristán .... production supervisor (as Gregorio Sacristan)
 
Second Unit Director or Assistant Director
Frank Kowalski .... second unit director (as Francis L. Kowalski)
José María Ochoa .... assistant director (as José Mª Ochoa)
 
Art Department
Julián Mateos .... property master (as Julian Mateos)
José María Alarcón .... assistant set decorator (uncredited)
Francisco Prósper .... construction coordinator (uncredited)
 
Sound Department
Kenneth Heeley-Ray .... sound editor
Kurt Hernfeld .... sound editor (as Kurt Herrnfeld)
Gordon K. McCallum .... sound recordist (as Gordon McCallum)
Wally Milner .... sound recordist
Donald C. Rogers .... sound (uncredited)
Otto Snel .... sound re-recording mixer (uncredited)
 
Special Effects by
Basilio Cortijo .... special effects assistant
Eugène Lourié .... special effects sequences director (as Eugene Lourie)
Alex Weldon .... special effects
Francisco Prósper .... miniatures (uncredited)
 
Camera and Electrical Department
John Cabrera .... second unit photography
Antonio Luengo .... still photography
Eduardo Noé .... camera operator (as Eduardo Noe)
Egil S. Woxholt .... underwater photography
Donald C. Rogers .... camera operator (uncredited)
 
Costume and Wardrobe Department
Charles Simminger .... wardrobe
 
Editorial Department
Don Record .... montage designer
 
Music Department
Mack David .... songs: music & lyrics by
 
Other crew
Eva Del Castillo .... script supervisor
Lew Gerard .... script supervisor
John Kirby .... dialogue coach
Don Record .... titles designer
Donald C. Rogers .... technical director (uncredited)
Herbert L. Strock .... adr director (uncredited)
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Volcano" - USA (reissue title)
See more »
Runtime:
131 min | UK:147 min (BBFC submission before censorship)
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
70 mm 6-Track (Westrex Recording System)
Certification:

Did You Know?

Trivia:
In the early phases of production there was no script, but they knew what special effects sequences were needed and special effects creator Eugène Lourié shot many of the miniature sequences before the writing was complete.See more »
Goofs:
Factual errors: The balloon would not be allowed to float untethered since there would be no way to steer the balloon back to the ship. It would be totally at the whim of prevailing winds. The fixed-location engine would be totally useless to steer the balloon since there would be no way to rotate it to the direction opposite of the direction they wished to travel.See more »
Movie Connections:
Referenced in Is There Sex After Death? (1971)See more »

FAQ

Midwest Premiere Took Place When & Where?
See more »
18 out of 21 people found the following review useful.
Krakatoa - just east of laughter, 3 January 2006
Author: FilmFlaneur from London

A guilty pleasure. Krakatoa, East Of Java's principal claim to fame is its title, infamously and erroneously placing its subject on the wrong side of the island. Directed by Bernard Kowalski, whose rare non-TV credits include Attack Of The Giant Leeches (1959), and SSsssnake (1973), the film is probably his best, aided immensely as it is by some excellent widescreen cinematography, emphasised with convincing location shooting -facts rarely allowed for in usual criticisms of a film which was cut by almost 30 minutes for an American re-release. The special effects, largely achieved through miniatures and blue screen work, range from passable to excellent and even now, in this era of eye watering CGI, there's still a fascination is seeing how well such a catastrophe was portrayed. The production design, by the veteran Eugène Lourié no less, is worth a discussion on its own.

In the face of this impending volcanic disaster is a nicely mixed group and one would expect plenty of steamy drama to be played out beneath sweltering decks. But the main problem the narrative is that, despite some promising elements, the audience has little empathy with the main group. Despite the long running time of the film (130 minutes in the full version), they remain too fragmented, and dramatic interest is often discharged too rapidly. But that's part of the fun, seeing how various matters are padded and dragged out between tantalising hints of the eruption to come. How some potential for real drama, like the love-hate relationship between father and son balloonists, or the latent sexuality of the Japanese women etc, is left to die by a unfocused script. For every wooden scene between between Hanson and Laura , one would dearly love more about the convict Dauzig's personal demons or his relationship with his comrades in chains below decks for instance, the resentful tension of which threatens to be every bit as violent as the island they are sailing towards.

But there's some incidental fun to be had along the way: one thinks of Keith and Werle in their cabin early on for instance, where she serenades him with a song as unexpected as it is irrelevant. It's a shipboard relationship between a heavyweight has-been and a shop worn female recalling that between Ernest Borgnine and Shelly Winters in The Poseidon Adventure of three years later. Keith's addict-diver with the 'shot lungs' provides other of the film's whacked out highlights too, as when, high on his drug, he hallucinates and attacks one of the Japanese women. Eventually confined to a crate suspended over deck until he regains his senses, Connerly is a man who seems doomed from the moment we see him. A point-of-view shot through the wooden bars during his moment of trial, lensed as he swings helplessly back and forth, suggests a prison in which a condemned man finds himself. Such is typical of a film that has many such moments, those in which characters peer at a world fraught with challenge. Whether through eyepieces, between slats, out of portholes, from balloons and diving bells, down into holds packed full of convicts or steaming volcanic cauldrons, apprehensive observation and anticipation is the norm for those who ride the Batavia Queen. These moments aptly reflect back the concerns of an audience who, in this film more than others, have come principally to observe a promised spectacular.

Such a visual motif is one of the few unifying elements in the film, other than the overarching expectation of an eruption. The overwhelming episodic nature of events is obvious, but at least it has the merit of making the film fairly diverse in content and, even in its full length version, time passes quickly enough in Krakatoa. On top of this, the concluding explosions and fireworks from the island aside, Kowalski does manage one or two effective scenes, such as the scenes in the runaway balloon, the near-comedy of which reminds one of the balloon antics in Those Magnificent Men In Their Flying Machines (1965), or the eerie sound effects caused by the nascent eruption (although one piece of eruption footage, conspicuously recycled, is a distraction). The simulation of audio effects one of the few times that the film actually reflects the subtle indications of such a massive event realistically as, for the rest of the film, the volcano is stereotyped into the usual 'burning mountaintop' image, set in mostly clear air at that, with the phenomenon of falling blankets of ash entirely overlooked. For some reason too, Krakatoa's eruption brings on a storm at sea - a nice easy, extra, touch of drama to be sure, although quite why volcanism should affect the weather is uncertain. Tossed and buffeted, Hanson's ship is a place of refuge amongst the impending devastation and, after dropping off one or two of the travellers who decide to sit out the expected tsunami on shore - a mistake in this situation, as any alert audience immediately realises - it faces the momentous tide alone. Like a similar wave that topples the aforementioned SS Poseidon, the one that comes up here seems to break mysteriously as it approaches the ship, but the outcome is never really in doubt. On shore, the results are worse, but reasonably well done, Kowalski's images suggesting something of a biblical deluge in scenes, which even the film's doubters still find impressive.

In fact so much has been leading up to the grand finale, so many supporting stories established, that one wishes that Krakatoa would go on a little longer than it does, at least so that there was time to gauge the effect of such tumultuous effects on the key participants. Ultimately, what impresses most these days is the absence throughout of the earnestness that attends so many modern disaster movies. The result is a still enjoyable film, one both flawed and innocent at the same time.

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