When this movie is made in 1956, one could circumnavigate the globe in a little less than two days. When Jules Verne wrote the story "Around the World in Eighty Days" in 1872, he predicted that one day man could accomplish the task in eighty hours, but which most considered folly to do in eighty days in current times, that is except for people like Englishman Phileas Fogg, a regimented man who believed all it would take is exacting work, the skills he possesses. He just has to make sure a train's schedule meets the required sailing schedule which meets the required coach schedule and so on. As such, he takes up what ends up being the highly publicized twenty thousand pounds sterling wager from his fellow members at the London Reform Club to do so, losing the bet which would ruin him financially. Along for the ride is Fogg's new, loyal and devoted valet, the recently arrived Latin immigrant, Passepartout, who possesses unusual skills which could be major assets, but whose all consuming...Written by
In San Francisco the prostitutes jump off a wagon full of beer barrels marked 'Pabst Blue Ribbon.' It was called Select until 1882. Due to their practice of tying a blue ribbon around the neck, it was frequently asked for as 'that blue ribbon beer.' See more »
There are no opening credits. The film begins with Edward R. Murrow introducing the film. He mentions the title and talks about the original author Jules Verne. This prologue discussion involves Murrow narrating some documentary footage (some done especially for this film), and includes a showing of the complete short film A Trip to the Moon (1902) directed by Georges Méliès. Then Murrow fades into the actual story with no opening credits whatsoever. See more »
An alternate CinemaScope print was released at some point following the original road show engagements, with an aspect ratio of 2.66:1 and a truncated running time of 140 minutes. This print was shown only once on Turner Classic Movies and is recognizable by its significant edits within the first fifteen minutes, omitting the entire "Trip to the Moon" section of the prologue and nearly all of Cantinflas' entrance on the bicycle. See more »
For He's a Jolly Good Fellow
Played by a band in San Francisco
Reprised during the end credits See more »
This Picture Makes No Sense On A Small Screen
Around the World in 80 Days is part comedy and part demonstration of a new wide-screen process. I saw it in its original run at the old Rivoli Theater in New York, where the screen ran from 48th St. to 49th St. People gasped at the size of the screen when the curtains opened, before the film even got underway.
If you watch the new 16x9 DVD on anything less than a 50-inch television, the visual composition and the pacing are absolutely incomprehensible, and you're on your own to seize on the many little things that are there to entertain you. But as a whole, the film loses its reason for being when viewed on a conventional TV.
David Niven is unbeatable as Phileas Fogg, Shirley Maclaine is implausible but slyly humorous as the Princess, Robert Newton appears sober most of the time and hammy all of it as Inspector Fix.
Cantinflas is inexplicable as Passepartout, except perhaps as Mike Todd's attempt to corral the entire Latin American market. The Mexican comedian's English is very shaky; it slows him down, and his clarity comes and goes and makes me wonder if Paul Frees didn't replace a lot of his lines. At any rate, only in the seemingly improvised encounter with Red Skelton at a buffet does Cantinflas do anything remotely humorous, and there he's the straight man.
The cameos are fun, and if you're too young to know who all these geezers are, it's worth it to find out, and use the IMDb to track down the work that made them famous. I remember the shriek the original audience let out when the piano player was revealed to be Frank Sinatra.
Viewing the film now, I was most moved to see Edmund Lowe and Victor McLaglan reunited in the engine room of the Henrietta, thirty years after they riveted the industry in "What Price Glory?" Buster Keaton concentrates really hard in his appearance as the train conductor, to excellent effect. A. E. Matthews gives a terrific acting lesson in saying "no" a half a dozen times in a London sequence.
Among the original bettors, locate Ronald Squire with the drooping mustache, hollow nasal baritone, and a slouching relaxation while performing that was a marvel - Rex Harrison publicly admired Ronald Squire's ease on stage all his life. In fact, Squire is so relaxed he makes someone like Dean Martin seem uptight.
So, this film is an unusual case - requiring patience for lots of little joys on the small screen, but making sense only on a large one.
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(Mag-optical) (35 mm prints) (1956)|Mono
(optical) (35 mm prints) (re-release prints)|70 mm 6-Track
(70 mm prints) (Westrex Recording System)|4-Track Stereo
(Perspecta Sound encoding) (35 mm magnetic prints) (1956)