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>
According to an article in the original "Famous Monsters of Filmland" magazines, production was actually started in 1926. There were various problems, including weather and the advent of talkies, which slowed/halted production several times before the film was finally completed and released three years later. The article included stills showing the original 1926 undersea denizens and the redesigned version which actually appeared in the film. See more »
During the initial test run of the ship, one brief scene shows it upside down. See more »
Count Andre Dakkar:
Here - on this island - all men are equal, Falon.
I know - of course - but - but - - a sister of Count Dakkar - and - *and a common workman*!
Count Andre Dakkar:
No doubt Nikolai has carried things too far, Baron Falon. I'll speak to him - severely.
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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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