The Horse's Head

#347) All Quiet on the Western Front (1930)

OR “Milestone’s Milestone”

Directed by Lewis Milestone

Written by Maxwell Anderson, George Abbott and Del Andrews. Based on the novel by Erich Maria Remarque.

Class of 1990

NOTE: “All Quiet on the Western Front” is currently available in its restored cut, which, while the most exhaustive known print of the film, is 20 minutes shorter than its original release. Check your attics.

The Plot: The Great War has broken out, and a group of German students are motivated to enlist when their professor (Arnold Lucy) gives an impassioned speech about “saving the Fatherland”. Told primarily from the point of view of young Paul Bäumer (Lew Ayres), the boys’ idealistic view of war is immediately shattered following a series of unforgiving battles and harsh living conditions. Although older unit member “Katz” Katczinsky (Louis Wolheim) takes the boys under his wing, nothing can protect them from the mental and physical anguishes of war. “All Quiet on the Western Front” was the first major piece of literature to show World War I from the perspective of the Germans, many just as patriotic and naïve as their American counterparts.

Why It Matters: The NFR calls it “among the greatest antiwar films ever made” and praises director Milestone. There’s also talk of the film’s production value and subsequent controversy (see “Legacy” below). An essay by Garry Wills discusses the film’s restoration.

But Does It Really?: “All Quiet on the Western Front” seems to have gotten lost in the shuffle of classic movies, which is a shame because it is still one of the greats. Every anti-war film since 1930 has taken a page from “Western Front”, and much of the film still holds up remarkably well. Kudos to Lewis Milestone and his team for making a war movie that can still elicit an emotional response from its audience almost a century later.

Everybody Gets One: Most of the supporting cast, notably Louis Wolheim. Born in New York City, Wolheim started in film with some encouragement from John and Lionel Barrymore. Thanks to a nose injury sustained in his youth, Wolheim was usually relegated to playing thugs and lowlifes, but director Lewis Milestone enjoyed casting him against type in such films as this and “Two Arabian Knights”.

Take a Shot: Weirdly, they don’t say the title in the movie, even though it’s one of the final lines of the novel and is, ya know, the whole crux of the damn thing!

Seriously, Oscars?: “All Quiet on the Western Front” was one of the biggest hits of the year and received four Oscar nominations at the 3^rd annual ceremony. “Western Front” became the first movie in Oscar history to win both Best Picture and Best Director, which ended up being its only two victories. Most egregious: the film wasn’t even nominated in the brand new Best Sound category, and Arthur Edeson lost Cinematography to a documentary! A documentary for God’s sake!

Other notes

• For you theater geeks out there, screenwriter George Abbott is the legendary theater director/producer of such shows as “The Pajama Game” and “Damn Yankees”. He lived to be 107 years old!
• Cinematographer Arthur Edeson earned his Oscar nomination. There’s a lot of powerful storytelling being told with that camera. Also, either Edeson or Milestone really liked shots that start outdoors and move indoors. We get several such shots throughout the film.
• Holy crap these boys were really whipped into a frenzy by Professor Kantorek’s speech. “Dead Poets Society” this is not.

https://www.youtube.com/watch?v=dxitujxRS-s

• I don’t know much about WWI, but I’ve always wondered: how many accidents did the German soldiers have with those helmets?
• This must be that section of Germany where only one out of every hundredth person has an accent.
• Katczinsky seems like a cross between Alan King and Teddy from “Bob’s Burgers”. I see why they cast Ernest Borgnine in the remake.
• Just a reminder that every effect in this movie is practical. Those are real explosions with real actors. It’s effects like these that help the film remain relevant.

https://www.youtube.com/watch?v=Ciq9ts02ci4

• Speaking of, the film’s first casualty got to me. Not bad for a 90 year old movie.
• The battles scenes are an impressive feat of filmmaking. In addition to the aforementioned practical effects, the sheer scope of this production is a sight to behold. Coordinating these scenes could not have been easy.
• I’m gonna complain about the film’s lack of a Best Sound nomination a bit more. “Talkies” had only been around for three years at this point; surely “Western Front” was one of the first movies to understand the importance of sound effects as a storytelling device. The sound of machine guns and biplanes punctuate the battle scenes more than any musical score could. I see you, recording supervisor C. Roy Hunter.
• The whole sequence of Paul trying to keep the French soldier alive is really intense. It’s the kind of psychological warfare amidst the physical warfare that never gets into war movies.

https://www.youtube.com/watch?v=mw96cSYo9dU

• I was not expecting to see any brief nudity in this movie. And I definitely wasn’t expecting to see a potential “shrinkage” joke. I was in a pool!
• Film comedian ZaSu Pitts was originally cast as Paul’s mother, but test audiences automatically laughed at her appearance, and Milestone re-shot her scenes with stage actor Beryl Mercer. Pitts can still be seen in the original trailer.
• The final scene with the butterfly was an afterthought, and Lewis Milestone’s hand subs for Lew Ayres. It’s still one of filmdom’s true “precious images”, and is immediately followed by one of the most haunting final shots ever.

https://www.youtube.com/watch?v=nMlDPsRwZE4

Legacy

• “All Quiet on the Western Front” opened to a positive reception in America, but Europe was a different story. Poland wouldn’t screen the film due its perceived pro-German stance, while Germany banned it for its perceived anti-German stance. I guess you see what you look for.
• Once the Nazis took power in Germany, the film was met with disruptive protests during screenings, and subsequently banned from theaters. Moreover, copies of the original novel were among the first to be burned by the Nazis.
• Lewis Milestone’s next movie was a little more light-hearted and far less controversial: the comedy (and fellow NFR entry) “The Front Page”. Louis Wolheim was all set to play Walter Burns, but died of stomach cancer before filming began, and was replaced by Adolphe Menjou.

https://www.youtube.com/watch?v=yd279jTd9HQ

• The original novel got a semi-sequel with “The Road Back”, which Universal made into the 1937 film of the same name. Directed by James Whale and featuring only a handful of returning characters, the film’s more anti-Nazi stances were deleted to ensure box office success overseas.

https://www.youtube.com/watch?v=jgQJxBkW8SQ

• The novel was adapted into a TV Movie in 1979 with Richard “John Boy” Thomas as Paul and Ernest Borgnine as Katz. Another remake has been languishing in development hell for longer than the war it’s trying to replicate. [2023 Update: Don’t know if it’s the same adaptation that was in development hell, but another film of “All Quiet” is out and apparently very good. Like, surprise Oscar contender good.]

https://www.youtube.com/watch?v=DX1PW2n8POg

#346) Dr. Strangelove (1964)

OR “How I Learned to Stop Worrying and Love the Bomb” (Alright, a freebie!)

Directed by Stanley Kubrick

Written by Kubrick & Terry Southern & Peter George. Base on the book “Red Alert” by Peter George.

Class of 1989

The Plot: At the height of the Cold War, the United States Air Force has B-52 bombers in the air at all times, always within two hours of their Russian targets. Overcome with Communist paranoia, General Jack D. Ripper (Sterling Hayden) issues an air strike without permission, and locks himself and RAF Captain Lionel Mandrake (Peter Sellers) in his office. President Merkin Muffley (Peter Sellers) is briefed on the situation by both the war-hungry General Buck Turgidson (George C. Scott) and nuclear scientist/former Nazi Dr. Strangelove (Peter Sellers). Eventually all bombers are notified to abort the mission, except for one piloted by Major Kong (Slim Pickens) who is hell-bent on going “toe-to-toe with the Rooskies”. World War III hangs in the balance in the darkest comedy ever made.

Why It Matters: The NFR praises the film’s “edgy satire” and “outrageously funny performances”. There’s also an essay by film studies Professor Wheeler Winson Dixon, author of “Dark Humor in Films of the 1960s”.

But Does It Really?: No question about it: “Dr. Strangelove” is filmdom’s definitive black comedy. Only a skilled filmmaker like Stanley Kubrick can simultaneously illuminate the very real danger of nuclear war and the inherent ridiculousness of political and military power. “Strangelove” is one of the rare movies where every department is firing on all cylinders, and more importantly, the rare comedy where everyone’s in on the joke. “Dr. Strangelove” seems to only get better with age, continuing to be laugh-out-loud funny while still maintaining its dire warning about human unpredictability. An undisputed classic, and a natural for the NFR.

Everybody Gets One: Original “Red Alert” author Peter George, and editor Anthony Harvey, who went on to direct “The Lion in Winter”.

Wow, That’s Dated: While still easy to follow today, the plot of “Strangelove” contains numerous references to Cold War paranoia that is lost on modern viewers. One example: Ripper’s conspiracy theory about Communist water fluoridation was a real conspiracy theory at the time!

Seriously, Oscars?: “Dr. Strangelove” was set to premiere in December 1963, but was delayed until January 1964 in response to America’s somber mood following the Kennedy assassination. “Strangelove” went on to be a hit, and received four Academy Award nominations: Picture, Director, Actor (for Sellers), and Adapted Screenplay. The film lost in the first three categories to that year’s big winner “My Fair Lady”, while Adapted Screenplay went to “Becket”. Not surprising for a British co-production, “Strangelove” did far better at the BAFTAs.

Other notes

• Kubrick and Peter George had intended to adapt “Red Alert” into a straightforward drama, but found some aspects of the nuclear arms race utterly ridiculous. Writer/satirist Terry Southern was then brought on board to help shape the film into a black comedy.
• Just from the opening credits you know something is going to be different about this movie. Not every Cold War drama begins with suggestive footage of refueling jets.

• Thanks to this blog, I now get why it’s funny having Sterling Hayden play Jack D. Ripper. Hayden is essentially doing what would be perfected in “Airplane!”: playing to his previous dramatic typecasting in a ridiculous comedy.

• That’s James Earl Jones (in his film debut!) as one of the bomber pilots. Jones is one of a handful of artists with two films in the NFR inaugural class.
• This whole post can be me gushing about Peter Sellers, right? None of his three characters are individually incredible, but the fact that Sellers pulls off all three is a testament to his talent. Strangelove is Sellers’ chance to show off broad yet disciplined physical comedy, while both Muffley and Mandrake let him play more low-key, reactionary humor. Plus that’s a solid American accent he’s got there: flat, yet colorful.
• Sellers was originally cast in a fourth role as Major Kong, but sprained his ankle (some suggest intentionally to get out of the part), with Slim Pickens becoming his 11^th hour replacement. No one told Pickens the film was a comedy, so he played it “straight”, and the rest is film history.
• Shout out to Tracy Reed as Miss Scott. She’s the only woman in the movie and she’s treated like a sex object the whole time. Look how far we’ve come!

• George C. Scott has better performances on his resume, but he’s never been funnier. It helps that Kubrick essentially tricked Scott into playing the role over-the-top during “rehearsal” takes, which infuriated Scott upon seeing the final film.
• Shout out to Ken Adam for that War Room set. An iconic set piece from the man who gave you the iconic set pieces of the Connery-era Bond films.
• This film is definitive proof that comedy is drama plus details. There’s nothing funny about nuclear annihilation, but once you add details like “precious bodily fluids” and a Coca-Cola machine, you find the film’s humorous dark streak.
• You may have noticed a lot of quick cuts during Muffley’s phone call with the Soviet Premier (and later during Strangelove’s monologues). My assumption is that the film cuts away right before the cast and crew break-up from one of Peter Sellers’ ad-libs. You can even see Peter Bull as the Soviet ambassador starting to crack a smile in some takes.

• Turgidson falling and getting back up mid-sentence is still one of my favorite moments in any film.

• Nice to see you Keenan Wynn, but why are you saying “prevert” instead of “pervert”? Was there a typo in the script?
• Another “Wow, That’s Dated”: Mandrake’s climactic moment hinges on him having enough change for a pay phone.

• Major Kong riding the bomb. It’s just one of those perfect film moments where everything clicks. I agree with Roger Ebert that the film should have ended there.

• That being said, a montage of bombs going off set to Vera Lynn’s “We’ll Meet Again” is an inspired choice. It is the perfect dark button to a perfectly dark film.

Legacy

• Both Peter Sellers and Stanley Kubrick’s stock rose after “Strangelove”. Sellers went on to the “Pink Panther” film series, while Kubrick teamed up with Arthur C. Clarke to make “the proverbial good science-fiction movie”.

• This film is so good even its trailer has a legacy. Designed by Pablo Ferro (who also did the opening credits), the trailer’s quick jump cuts and avant-garde style was revolutionary in the early ‘60s, and changed the studio’s approach to promoting their coming attractions.
• The making of “Strangelove” is covered in “The Life and Death of Peter Sellers”, with Geoffrey Rush as Sellers and Stanley Tucci as Kubrick.

• “Dr. Strangelove” has had its share of parodies and references over the years, primarily allusions to the “bomb riding” shot. Here’s “The Simpsons” with more.

• Believe it or not, Kubrick briefly entertained the idea of a “Strangelove” sequel in the mid-90s. Terry Southern returned to write “Son of Strangelove” about the Doctor’s time in the bunker, but died shortly after beginning the script. Kubrick apparently had Terry Gilliam in mind to direct.

Further Viewing: Sidney Lumet’s “Fail Safe” explores many of the same topics as “Strangelove”, albeit in a far more dramatic tone. Once Kubrick learned that “Fail Safe” was also in production, he, Peter George, and Columbia sued the film, claiming it was too similar to “Red Alert”. There was a settlement, and “Fail Safe” was released eight months after “Strangelove”. It was successful, but it ain’t on the list.

#345) Brokeback Mountain (2005)

OR “The Cowboys in the Band”

Directed by Ang Lee

Written by Larry McMurtry & Diana Ossana. Based on the short story by Annie Proulx.

Class of 2018

The Plot: Ranch hands Ennis Del Mar and Jack Twist (Heath Ledger and Jake Gyllenhaal) are hired to herd sheep across Brokeback Mountain in 1963 Wyoming. Over the summer, the two form a close bond, ultimately leading to a sexual relationship. The two men part ways, returning to their heterosexual lifestyles; Ennis marries longtime fiancée Alma (Michelle Williams), Jack marries rodeo star Lureen (Anne Hathaway). Over the next 20 years, Ennis and Jack reconnect every so often to continue exploring their relationship, even as their respective marriages fall apart. It’s an emotionally complex study of human sexuality, set against the rugged toxic masculinity of the American west. But hey, wouldn’t you rather watch an overly manipulative movie about L.A.’s racial tension?

Why It Matters: After spoiling the ending in its plot synopsis, the NFR calls the film “[h]aunting” and “an enduring classic” (yeah, that’s why it’s on the list). Heath Ledger’s performance gets a very descriptive shoutout.

But Does It Really?: “Brokeback Mountain” is the first NFR entry that I witnessed become a classic in real time. It’s one thing for me to grow up with countless films already being designated “classics”, but to watch that happen to a film from my adulthood is quite amazing. In addition to its ongoing impact on queer cinema, “Brokeback” is by its own merits a well-crafted character study lifted by Ang Lee’s delicate direction and wonderfully subtle performances from its four leads. “Crash” may have taken home the Best Picture Oscar, but as the NFR has shown us, “Brokeback” got the real prize in the end.

Shout Outs: No direct references in the movie proper, but the poster’s design was intentionally based on the poster for “Titanic”.

Everybody Gets One: Pretty much everyone except Randy Quaid. “Brokeback Mountain” is currently the most recent film on the NFR and therefore your one stop for Ang Lee, Heath Ledger, Jake Gyllenhaal, Michelle Williams, Anne Hathaway, and all of those sheep.

Seriously, Oscars?: Oh boy, buckle up kids. “Brokeback Mountain” started in limited release, and expanded once the critical praise and awards recognition got going. By the time the 2006 Oscars rolled around, “Brokeback” lead the pack with eight nominations and had won more Best Picture precursor awards than any other movie in history. The film took home well deserved Oscars for Directing, Adapted Screenplay and Original Score. And then, this happened…

Other notes

• For those of you who stand firm that the 21^st century didn’t begin until 2001, “Brokeback Mountain” is the first narrative feature from this century to make the National Film Registry.
• Just a reminder that Ang Lee’s previous film was 2003’s “Hulk”, an experience so exhausting Lee even considered retiring. Thank goodness “Brokeback” came along.
• Both Heath Ledger and Jake Gyllenhaal are graduates of the James Dean School of Mumbling. What’s the point of only saying 10 words if I can’t hear any of them?
• I was going to comment on how stunning the landscapes in this movie are, and then I learned that several of these shots were digitally touched up. Damn you, movie magic!
• So many animals in this film: sheep, horses, a bear; Did PETA members outnumber the crew on this shoot? Apparently the American Humane Association did not…
• The first half hour or so is a nice gradual build-up to Ennis and Jack’s relationship. There’s a natural restraint on dialogue in their scenes; most of their characterization is conveyed visually.
• Confession: I’ve never seen “Brokeback Mountain” until now. I didn’t realize you actually see the first sex scene. No dissolve over candles or curtains billowing in the wind for these two?
• Michelle Williams can do no wrong in my book. My heart always goes out to the women she portrays, and her Alma is no exception. Can’t wait to see her Gwen Verdon.

• Surely by the time the film hits the late ‘70s Jack and Ennis would have considered moving to San Francisco. Harvey Milk was a thing back then.
• Near the end of the movie we get a string of then-unknown actors who have since gone on to bigger (and stranger) things: Linda Cardellini, Anna Faris, David Harbour, and…one of the Maras. Kate? Rooney. No, it’s Kate, final answer.
• Shoutout to Jake Gyllenhaal, who manages to underplay Jack’s emotional outburst. No Oscar-bait hysterics here, he just plays the reality of the scene.
• “I wish I knew how to quit you” is the best movie line delivered by a character with their back to the camera. Take that, “Louis, I think this is the beginning of a beautiful friendship.”

• Anne Hathaway has never done it for me, but I will admit that she nails the final phone call with Ennis. That’s a wealth of emotion with minimal facial movement. I guess Hathaway’s forte is intense, uninterrupted close-ups.

• My main takeaway from this film is not a surprise: what a loss we all suffered when Heath Ledger died. He is giving a beautifully restrained performance as Ennis; there is so much going on just under the surface of the character. It made me think of all the great Heath Ledger performances we’ll never get.
• Another “Everybody Gets One”: Willie Nelson & Rufus Wainwright, who both perform songs during the end credits.

Legacy

• “Brokeback Mountain” was a turning point for queer cinema, and the last decade has seen an array of gay, bisexual, and/or queer media. Happily, there are too many for me to list here, but I will bring attention to “Call Me By Your Name”, a gay-romance Oscar contender that came and went with none of the controversy “Brokeback” endured under the same circumstances.

• Speaking of controversy, “Brokeback Mountain” had its share of critics in its day: conservative media pundits, the American Humane Association, even co-star Randy Quaid, who sued the filmmakers for allegedly tricking him into taking a pay cut for the film.
• “Brokeback” and its subsequent Oscar buzz turned all four of its stars into movie stars/awards contenders. Gyllenhaal, Williams, and Hathaway are still cranking out movies/collecting trophies, and Ledger got his share of posthumous accolades for “The Dark Knight”.

• “Brokeback” had its moment in the cultural zeitgeist, with everyone spoofing “that gay cowboy movie” and wishing they knew how to quit things. Don’t know if any of it would fly now, but I do have a soft spot for “Brokeback to the Future”.

• The original short story was adapted into, of all things, an opera in 2014 by Charles Wuorinen. I just don’t understand why two repressed characters would ever break out into song, let alone all the time.

• Anne Proulx loved the movie, but really hates all the fan fiction she gets sent from male writers who “fix” the story for her. Please stop.
• And if you want to visit the real Brokeback Mountain, good luck because it doesn’t exist! In reality, Brokeback Mountain is a composite of Mount Lougheed and Moose Mountain in Alberta, Canada.

#344) Time and Dreams (1976)

OR “Black and White in Greene”

Directed by Mort Jordan

Class of 2017

The Plot: By the early ‘70s, Greene County, Alabama is among the first to have a predominantly African-American elected school board and city council. Temple University film student Mort Jordan focuses on Greene County’s citizens in this time of social change in “Time and Dreams”. In an unusual move, all of the interviewees are white. Some dismiss slavery and Reconstruction era racism as “the way it was”, others fully embrace the county’s new direction, and still others are fearful that this change will result with the white population being treated unfairly by African-Americans in power. Aided by Jordan’s narration, “Time and Dreams” is an examination of a piece of America on the verge of permanent change, as well as those who use time and dreams to hide from the reality of the present.

Why It Matters: The NFR calls the film “a unique and personal elegiac approach to the civil rights movement.”

But Does It Really?: The nice thing about the Registry is that it can still surprise me with a movie that comes seemingly out of nowhere. “Time and Dreams”/Mort Jordan was not on my radar (or anyone’s) before its induction to the Registry in 2017. I went into this screening knowing nothing about the film or its content, but an hour later I found myself surprisingly moved by what I had seen. “Time and Dreams” can be a bit heavy-handed in its presentation, and having an all-white panel gives the film a certain lopsidedness, but ultimately I was captivated by the film’s open look at the pitfalls of tradition and the fear of uncertainty. “Time and Dreams” may be one of the Registry’s more obscure titles, but it’s definitely worth checking out, and I’m glad the NFR found a place for it.

Everybody Gets One: Not a lot of information out there about Mort Jordan, other than he is a native Alabamian and was a student at Temple University, earning his MFA from the School of Theater, Film and Media Arts in 1975. “Time and Dreams” was part of his senior thesis project required to complete his degree. Once again, someone’s student film made it into the National Film Registry.

Wow, That’s Dated: Besides the obvious racial situation, be on the lookout for such ‘70s telltales as indoor smoking and sideburns that double as mutton chops.

Seriously, Oscars?: No Best Documentary nomination, but “Time and Dreams” was a finalist for a Student Academy Award. The Documentary winner that year was something called “What the Notes Say”, but Mort Jordan was the very first Student Oscar winner for Documentary with 1973’s “You See, I’ve Had a Life”, about a 13-year-old boy’s battle with leukemia. Jeez, Mort really doesn’t go for feel-good subject matter, does he?

Other notes

• The interviews in “Time and Dreams” are a culmination of a year that Mort Jordan spent in Greene County, getting to know a variety of citizens in the process. Mort’s overall finding was that despite the racial tension in Greene County, “when it got down to the one-on-one relationships, things were fine.”
• The first minute or so consists of a ticking clock. They are definitely hitting the ground running with the “Time” part of the title.
• Uh-oh, these are some thick Alabamian accents. I may need subtitles.
• “For years, rivers meant isolation.” I have never truly considered the role geography has played in dividing cultures (though I guess mountains are the most obvious ones).
• So here’s the thing: I get the point Jordan is trying to make by only interviewing white citizens, but it definitely narrows this complex issue’s perspective. The interviews with these specific people can only go so long before “white people were victims too” gets brought up. And no matter how sincere or well thought out that viewpoint is, it will always pale in comparison to our treatment of African-Americans because, ya know, slavery.
• The section devoted to the rise of private schools in Alabama following desegregation intrigued me. Turns out most of the white population wouldn’t even entertain the idea of sending their kids to the same school as African-American kids, for fear they wouldn’t get the best education. So they built private schools and sent their kids there. Even the most defensive of the interviewees can’t successfully spin this one.
• Kids mugging for a documentary camera will never not be endearing. And they’re all so carefree, probably not even aware of the documentary’s subject matter. I’m just going to leave “You’ve Got to Be Carefully Taught” riiiiiight here.

• There are a lot of observations made by the interviewees that I found quite profound. Perhaps the one that most resonated with me was peoples’ desire to hold on to the solid views of the past rather than risk the abstract views of the future. Though I do wonder how long before each interviewee started spouting such pearls of wisdom. Surely it took a few warm-up questions to get to these gems.
• And one more “that’s racist towards white people” argument for the road. Again, he’s not wrong, but you’re really missing the point.
• A final reminder that this movie – deemed historically significant in the same class as “Guess Who’s Coming to Dinner” and “Titanic” – was a student film made to fulfill a class requirement.

Legacy

• According to Mort Jordan, “Time and Dreams” “went back into the vaults” after its initial screenings. The film languished in obscurity until it was selected for the National Film Registry in 2017. This selection came to be when the National Film Preservation Foundation launched a subcommittee to find student films for Registry consideration. Committee member and former Temple Professor Ben Levin contacted Leonard Guercio, head of the Temple Digital Cinema Lab. Guerico recommended “Time and Dreams” for its “straightforward honesty”, and Levin et al advocated the film to the rest of the committee. Mort Jordan was “absolutely floored” upon learning his film had not only been resurrected, but would be preserved by the Library of Congress.

• Also worth noting: Greene County’s current population is roughly 80% African-American.

#343) Twenty Thousand Leagues Under the Sea (1916)

OR “Out of Their Depth”

Directed & Written by Stuart Paton. Based on the novel by Jules Verne (with Verne’s “The Mysterious Island” thrown in for fun).

Class of 2016

The Plot: A group of scientists, including Professor Aronnax (Dan Hanlon) and harpoonist Ned Land (Curtis Benton), are recruited by the U.S. Government to investigate a mysterious sea creature that has been attacking ships. While on board the “Abraham Lincoln”, the team witnesses one of these attacks, only to discover that the “creature” is the submarine Nautilus, helmed by the mysterious Captain Nemo (Allen Holubar). Nemo holds the team prisoner, but treats them as his guests, offering awe-inspiring views of the ocean floor. The movie then jettisons most of the original novel’s plot in favor of characters and situations from “The Mysterious Island”…for some reason.

Why It Matters: The NFR references the film’s production, popularity, and that “[t]he real star of the film is its special effects.”

But Does It Really?: This is another one of those movies that should be partially preserved. The underwater sequences are a technological breakthrough, but everything before and after just kind of sits there. It doesn’t help that this adaptation feels the need to borrow from another Jules Verne novel: other adaptations have proven the original novel provides more than enough material for a full-length movie. “Twenty Thousand Leagues” is on the NFR for 10 minutes in the middle that revolutionized film, and that’s about it.

Everybody Gets One: Shoutout to George and Ernest Williamson, the innovators behind the film’s underwater footage. The two invented the “photosphere”, a dome that could sit on the ocean floor, connected to its ship by an accordion-like tube (see image below). This production used a regular film camera and a mirror to film the reverse image of the underwater scenes.

Wow, That’s Dated: The good news: this adaptation acknowledges Nemo’s Indian heritage from the original novel. The bad news: BROWNFACE WARNING.

Other notes

• Many have felt the need to make this point, but for the record: leagues are a unit of length, not depth. 20,000 leagues is roughly 50,000 miles, more than twice the circumference of the Earth.
• We have a title dispute! All publicity material (including the poster and NFR entry) lists the number “20,000”, but the title card at the beginning spells out the word “Twenty Thousand”. When in doubt, I go with what the movie tells me.
• Knowing full well that this is spectacle and not an actual movie, the opening intertitles celebrate the Williamson brothers and their submarine photography. The boys make a brief on-camera appearance, as does a photo of the late Jules Verne.
• Professor Aronnax’s assistant Conseil does not appear in this version. Instead we get Aronnax’s daughter, who is not in the book and adds nothing to the proceedings. I’m gonna guess “Director’s Girlfriend” for this one.
• The top of the Nautilus was a practical set built for the scenes of the ship surfacing. It seems tame, but it was a big deal back then.
• Why is Captain Nemo dressed like Santa?
• I did not realize “frustrate” is also a verb. In this case, to prevent or thwart an action.
• Hey, you got your “Mysterious Island” in my “Twenty Thousand Leagues”! So here’s the thing, “Mysterious Island” is a pseudo-sequel to “Twenty Thousand Leagues”, as the character of Captain Nemo is featured in both stories. The problem is, this film acknowledges the connection, but then goes into a completely different direction with it. Nemo’s backstory is fleshed out in “Mysterious Island”, but it’s not the story we get here.
• Once again, the added female character of A Child in Nature adds nothing. I’m gonna guess “Producer’s Girlfriend” this time.
• And now we get to the real meat and potatoes: Captain Nemo showing off his view of the ocean floor. It goes on for about 10 minutes and has nothing to do with anything, but man what a revolutionary watch this would have been in 1916, especially on a big screen.
• I love that each sea creature gets an intertitle with different factoids, followed by “Look! Sharks!” Speaking of, sharks are “the tigers of the sea”? Between this and “Nanook of the North” silent movies loved comparing other animals to tigers.
• The oxygen tanks and compressed air powered guns were both created by Jules Verne for the original novel, and were deemed science fiction at the time. The man was a visionary.
• Underwater sequence aside, this film doesn’t really capture the visual aesthetic of a Jules Verne novel. Really disappointing considering the man more-or-less invented the steampunk look.
• And now we get a third plotline involving someone named Charles Denver, an original character not found in either novel. Denver is shoehorned into Nemo’s flashback from “Mysterious Island”. Once again, they could have stuck with the source material and been fine; there was no need to add this guy. Especially since he “forced his attentions” on the princess. Do we really need to add sexual assault to a Jules Verne movie?
• I know they spent a lot of the budget on effects, but you can more or less sense the model of the Nautilus being passed from one hand to another off-camera.
• According to the intertitle, the climax is when Captain Nemo “reveals the tragic secret of his life, which Jules Verne never told.” HE DID TELL IT. YOU ARE CHOOSING TO MAKE UP YOUR OWN THING. WHY ARE YOU DOING THIS TO ME?
• The film’s epilogue is titled “The Benediction”, features a brief shot of two characters (Ned Land and the Girl?) watching the sunset, and a quick fade out. What even is this movie?

Legacy

• There have been several adaptations of “20,000 Leagues” through the years, most ignoring Captain Nemo’s Indian roots and making him European. The most famous version, the 1954 Richard Fleischer epic, filmed some of their underwater scenes in the Bahamas, as did the 1916 version.

• Underwater footage may have been revolutionary in 1916, but nowadays it’s so common I bet there’s some playing on Nat Geo right now.

• Esther Williams owes her film career to this movie.

• Was any of “Aquaman” filmed underwater? Can I mention it anyway?