Around the World in Eighty Days
(B- or 2.5/4 stars)
Producer Michael Todd threw every cent he had to make this 3 hour presentation of Jules Verne's 1872 novel 'Around the World in 80 Days', directed by Michael Anderson & lensed in Todd-AO's state-of-the-art widescreen cinematography. David Niven leads the enormous cast as ultra-British, ultra-precise, ultra-stuffy, & ultra-punctual Phileas Fogg, who places a 20,000-pound wager with fellow members of the London Reform Club, that he can travel around the world in 80 days. Together with his resourceful & rambunctious valet Passepartout (Mexican star, Cantinflas), Phileas Fogg sets out from Paris via hot air balloon. Meanwhile, suspicion grows that Fogg has stolen his 20,000 pounds from the merry 'ole Bank of England. Inspector Fix (Robert Newton) is out to bring Phileas Fogg to justice.
Hopscotching around the globe, Fogg leaves Paris & stops in Spain, where the duo watch some flamenco dancing & Passepartout takes part in a bullfight (a specialty of Cantinflas). In exotic India, Fogg & Passepartout rescue young widow Princess Aouda (Shirley MacLaine, in only her 3rd film ever) from being forced into committing ritualistic suicide so that she may join her late husband. These 3 amigos then pass through Hong Kong, Japan (with a Kibuki show), the mighty Pacific, San Francisco (bar room shenanigans), the Wild West (encountering Indians & the railroad), & NY. Then, with only hours short of winning his big wager, Phileas Fogg is arrested by the diligent Inspector Fix. Exoneration follows {naturally}. And a race to the London Reform Club ensues.
Among this movie's 46(!) "cameos" - a term 1st penned by producer Michael Todd - the most memorable include Marlene Dietrich, Charles Boyer, Peter Lorre, Frank Sinatra, Jose Greco, Trevor Howard, Buster Keaton, Red Skelton, & John Mills. Even newscaster Edward R. Murrow provides the opening narration, and there's a fascinating 6 minute clip from Georges Melies' A Trip to the Moon (1902). Producer Michael Todd really went all-out for this movie. He spent millions making it & he received MANY millions back. He promoted the heck out of it; and it didn't hurt to have his new wife Elizabeth Taylor on his arm through it all.
I am giving this "classic" and "Oscar-winning Best Picture" a rating of B-, and I almost feel like I'm giving it too much respect. The performances are slight, but agreeable. The aforementioned 'new' widescreen color cinematography techniques are quite good. Many of the visuals we see are shot in varied ways. The locales we get to see over the course of the 3 hours are wondrous {especially when viewed by an audience member in 1956}. The production designs (London interiors, the hot air balloon, all stops along their journey, various ships, trains, saloons, etc, etc.) are fantastic. The costumes are similarly impressive; varied from every corner of the world. Victor Young's musical score is highly enjoyable. I could go on. On the SURFACE, there are pleasures to be found everywhere.
Howwwever, too many stretches are unimaginative - especially when considering the world journey. The cinematic possibilities are infinite; yet, there's a flatness to some of Michael Anderson's direction. I needed more whimsy; more sense of wonder. For lengths of time, we're treated to a long-winded travelogue, really. The script is ambitious; adapted from that amazing novel. But the execution by the director & his editors is lacking. Sure, 'Around the World in Eighty Days' is fun for celebrity spotting & its spectacle. But that's basically it. THIS won Best Picture over The Ten Commandments, The King & I, & Giant? I can only assume that a small majority of the mere 600 members of the Academy, at that time, felt inclined to reward Michael Todd for his lavish parties, promises, & promotions.
Hopscotching around the globe, Fogg leaves Paris & stops in Spain, where the duo watch some flamenco dancing & Passepartout takes part in a bullfight (a specialty of Cantinflas). In exotic India, Fogg & Passepartout rescue young widow Princess Aouda (Shirley MacLaine, in only her 3rd film ever) from being forced into committing ritualistic suicide so that she may join her late husband. These 3 amigos then pass through Hong Kong, Japan (with a Kibuki show), the mighty Pacific, San Francisco (bar room shenanigans), the Wild West (encountering Indians & the railroad), & NY. Then, with only hours short of winning his big wager, Phileas Fogg is arrested by the diligent Inspector Fix. Exoneration follows {naturally}. And a race to the London Reform Club ensues.
Among this movie's 46(!) "cameos" - a term 1st penned by producer Michael Todd - the most memorable include Marlene Dietrich, Charles Boyer, Peter Lorre, Frank Sinatra, Jose Greco, Trevor Howard, Buster Keaton, Red Skelton, & John Mills. Even newscaster Edward R. Murrow provides the opening narration, and there's a fascinating 6 minute clip from Georges Melies' A Trip to the Moon (1902). Producer Michael Todd really went all-out for this movie. He spent millions making it & he received MANY millions back. He promoted the heck out of it; and it didn't hurt to have his new wife Elizabeth Taylor on his arm through it all.
I am giving this "classic" and "Oscar-winning Best Picture" a rating of B-, and I almost feel like I'm giving it too much respect. The performances are slight, but agreeable. The aforementioned 'new' widescreen color cinematography techniques are quite good. Many of the visuals we see are shot in varied ways. The locales we get to see over the course of the 3 hours are wondrous {especially when viewed by an audience member in 1956}. The production designs (London interiors, the hot air balloon, all stops along their journey, various ships, trains, saloons, etc, etc.) are fantastic. The costumes are similarly impressive; varied from every corner of the world. Victor Young's musical score is highly enjoyable. I could go on. On the SURFACE, there are pleasures to be found everywhere.
Howwwever, too many stretches are unimaginative - especially when considering the world journey. The cinematic possibilities are infinite; yet, there's a flatness to some of Michael Anderson's direction. I needed more whimsy; more sense of wonder. For lengths of time, we're treated to a long-winded travelogue, really. The script is ambitious; adapted from that amazing novel. But the execution by the director & his editors is lacking. Sure, 'Around the World in Eighty Days' is fun for celebrity spotting & its spectacle. But that's basically it. THIS won Best Picture over The Ten Commandments, The King & I, & Giant? I can only assume that a small majority of the mere 600 members of the Academy, at that time, felt inclined to reward Michael Todd for his lavish parties, promises, & promotions.