Here’s a movie that I might have read about somewhere or other, but it never really sank in until we started this blog and I did a little reading about the film of 20,000 Leagues Under the Sea. Then I realized there were more screen versions of Captain Nemo than I was aware. This one, however, could have remained adrift. It is a boring, boring movie.
Captain Nemo and the Underwater City has an interesting international cast, bringing Americans Robert Ryan, as Nemo, and Chuck Connors to the UK for a production at MGM’s Borehamwood Studios. Luciana Paluzzi, best known at the time for her role in Thunderball, is also here. Thunderball is my least favorite Bond film, in part because of all the endless underwater scenes. This film has a similar problem.
The movie opens in the mid-1860s with a liner bound for Bristol sinking in a storm. Connors is playing a US senator, and he goes overboard, along with characters played by Nanette Newman, Allan Cuthberson (a claustrophobic engineer), Bill Fraser and Kenneth Connor (criminal brothers), and Christopher Hartstone (the token kid). They get rescued by divers from the Nautilus and brought along to Templemer, an underwater utopia that Nemo and his followers have constructed.
Then he refuses to let them leave. Complications, and boredom, ensue.
The problem is that this movie will end as soon as somebody gets out of there, and there is no reason to hold them, or even bring them below in the first place. The film is set during the American Civil War, when nobody on the surface had access to Nemo’s technology. As with the previous two films about Captain Nemo that we’ve watched, people are amazed by it. Nemo’s concern is that people from the warring world above will interfere with his utopia, but that’s not possible. Nobody can reach him.
A secondary problem is that we don’t even reach the character conflict of the film – the “why” nobody can leave – until its halfway point. Nemo tells them that they will remain in Templemer for the rest of their natural lives, but before there are any protests, debate, or character drama, he shows them his underwater farm for an eyeball-bruising ten minutes of scuba footage. Reefs, schools of fish, bubbles. There’s a reason why we’re never going to watch Voyage to the Bottom of the Sea for this blog, and why Thunderball puts me to sleep. Heck, I don’t even like Stingray very much.
I wasn’t sure what to expect, because the film was written by Pip and Jane Baker, who are notorious for some legendarily awful Doctor Who episodes, but directed by the reliable James Hill, who directed some very good episodes of The Avengers, The Saint, and most of Worzel Gummidge. So the movie settles into a mediocre gray area, with nothing of interest beyond some interesting sets and the acting of Bill Fraser, who was then best known as Sgt. Claude Snudge in three related BBC comedies and is very amusing here. Well, there is a neat scene where Allan Cuthberson’s bid for freedom goes terribly wrong, but not even a hundred foot mutant manta ray monster could keep my interest. Chuck Connors is lantern-jawed, gravel-voiced, and soporific in a part which, four or five years later, Doug McClure would play about once every summer.
Our son was actually more patient with this movie than I was – he got a little restless, but never seemed about to fall asleep like me – and he pronounced it “pretty cool.” The scene where Cuthberson’s escape plan goes wrong did frighten him into going behind the sofa, but he applauded early on and enjoyed the animals in the city, which include a pelican, a seal, and some penguins. The submarine chases and fights with sharks and monsters are pitched just right for kids, and perhaps if you can watch this movie in the company of one, then at least one of you will enjoy it.