Across the various Jules Verne-inspired films surveyed here on the blog the last few weeks, we've seen the classic literary anti-hero Captain Nemo depicted as self-sacrificing savior and anguished anti-hero (Fleischer's 20,000 Leagues Under The Sea ), and Nemo as older (and perhaps wiser?) benevolent benefactor of mankind (Mysterious Island ).
Here, as played by diminutive, thin Robert Ryan, Captain Nemo is portrayed as a soft-voiced, beardless, kindly, grandfather-type. In this British-made feature, Nemo commands not merely the advanced submarine Nautilus, but serves happily as friendly ruler of a golden undersea utopia, a domed metropolis called "Temple Myra," if I have it right.
More to the point, however, this 1969 version of Captain Nemo is rather toothless, given to the occasionally 'bout of grumpiness, but overall most determined, apparently, to forge a romantic relationship with a castaway named Helena (Nanette Newman) whom he has rescued from a sinking ship. I suppose there's nothing intrinsically wrong with a film dramatizing the softer side of Nemo, but it's still a bit jarring to see such an edgy character rendered so...harmless.
Captain Nemo and The Underwater City (shot by the always-impressive Alan Hume) depicts the tale of six men and women who are rescued by Nemo when their vessel sinks during a storm on the high seas. These characters include the honorable U.S. Senator Robert Fraser (Chuck Connors), plucky widower Helena Beckett (Newman), her young boy, Phillip, a twitchy claustrophobic named Lomax (Allan Cuthbertson) and two petty crooks -- Barnaby (Bill Fraser) and Swallow (Kenneth Connor) -- who comprise the film's egregiously tiresome comic-relief duo.
Nemo transports these survivors to the bottom of the sea and to his gold-plated commune, a domed city of peace and prosperity.
Meanwhile, Nemo becomes a kindly father-figure to young Phillip, and develops a a close friendship with the obstinate women's libber Helena. When offered the choice to betray Nemo and leave the city, or stay with Nemo and form an ad hoc family (along with Phillip's little kitten...), Helena chooses to remain.
As all this soap opera occurs inside the safety of the city walls, a deranged giant manta ray named "Mobula" threatens the peace outside. Fraser becomes a hero after dispatching the murderous beast while in command of Nautilus.
Watching the film as a more discerning adult, however, Captain Nemo and The Underwater City doesn't wear quite as well.
The miniature work is also terrible. I should add, this is not a case of the years being unkind to good special effects, to be certain. If you go back to 20,000 Leagues Under The Sea in 1954 or Mysterious Island in 1961, you can see some amazing and convincing miniature work and optical effects. In both cases, those effect still hold up remarkably well: you believe the Nautilus is a full-sized vehicle ramming actual surface vessels.
Captain Nemo and the Underwater City also wastes an inordinate amount of its melodramatic narrative concentrating on unfunny comic-relief. Barnaby and Swallow make pests of themselves -- and in one cringe-worthy moment -- Barnaby squirts a stream of alcohol in his face while trying to master an undersea drink dispenser.
Frankly, Nemo's insistence that these visitors remain at the bottom of the sea (10,000 fathoms below the surface...) is also more than a little mystifying. The good captain should have just dropped the survivors off on the nearest island, or given them a small raft so they could find help from a passing vessel. Nemo's stated motive for not permitting Fraser and others to return to the surface is that they would tell the world about his underwater utopia.
Yes, but what could they do about it?
A couple more things: it seems to me that if you wanted to write the story of Captain Nemo falling in love and becoming a father-figure, you would want to highlight his sad past, especially his alienation from the world-at-large.
I've been rather tough on Captain Nemo and The Underwater City, but in closing, I would like to write something positive about it.
"Even Utopia has its hazards," one character states in the film, but Captain Nemo and The Underwater City's best quality is that it realizes our world has hazards too.