On a volcanic island near the kingdom of Hetvia rules Count Dakkar, a benevolent leader and scientist who has eliminated class distinction among the island's inhabitants. Dakkar, his ...
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On a volcanic island near the kingdom of Hetvia rules Count Dakkar, a benevolent leader and scientist who has eliminated class distinction among the island's inhabitants. Dakkar, his daughter Sonia and her fiance, engineer Nicolai Roget have designed a submarine which Roget pilots on its initial voyage just before the island is overrun by Baron Falon, despotic ruler of Hetvia. Falon sets out after Roget in a second submarine and the two craft, diving to the ocean's floor, discover a strange land populated by dragons, giant squid and an eerie undiscovered humanoid race.Written by
Doug Sederberg <firstname.lastname@example.org>
A costume test of Karl Dane, shot in Technicolor, has been preserved by the BFI National Archives. See more »
The initial views of the ship's nose during construction shows a blunt rounded appearance as with modern submarines, but the animation views of the ship underway show an almost cartoon-like shape with a swordfish-like pointy nose. See more »
Count Andre Dakkar:
Who am I? I'm a scientist - who asks nothing, but to be left alone. Here on my island we don't think of kings or rank or power. Here the humblest workman in my shops, the peasant who tills my field, is my equal. We work with but one end: to study, to learn, to be free! To seek happiness, each in his own way.
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Metro-Goldwyn-Mayer also released this as a totally silent movie. See more »
The first screen version of Jules Verne's undersea adventure was a critical, financial and artistic disaster when first released in 1929, but in retrospect it ranks among the more unusual failures ever made. Poised uncomfortably between silence and sound, it suffers all the drawbacks of both eras while retaining the virtues of neither, mixing outlandish melodrama and painfully awkward dialogue passages into a primitive fantasy set, in large part, at the bottom of the deepest, darkest sea, where a parallel race of strange, aquatic midgets live. There's an odd, anachronistic flavor to the mythical mid-19th century Slavic setting, peopled by characters named Sonia, Nikolai, Dmitri et al. It's as if the technology of the future (circa 1930) was superimposed over the ideas of the past, with dialogue and action set to the romanticized movie standards of Jazz Age Hollywood. As a silent film it would have been unconvincing; as a quasi-sound FX spectacle it's simply ludicrous, and the (loosely) synchronized sound effects only accentuate the silent images.
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