Producer: Alex Gordon. A Neptune Production. Released through Columbia Pictures Corp.
Copyright 1 February 1962 by Columbia Pictures Corp. New York opening at neighborhood theatres as a support to The Interns: 8 August 1962. U.K. release: 15 July 1962. 7,000 feet.
SYNOPSIS: Tells of he construction and demise of an experimental underwater city.
COMMENT: Although released in black-and-white in the U.S.A., this film was shown in color in England and Australia. True, the miniature special effects probably look more convincing in monochrome, but this is otherwise a movie that desperately needs color. The script is silly, the dialogue verbose, the plot wildly implausible, the direction flatly pedestrian.
On the other hand, the players manage to spark up a bit of interest, and the destructive climax is mildly diverting.
Even such tested economy devices as a solemnly delivered off-camera commentary over sluggish takes and stock footage add to the fun. It's also good to see veteran players like Reid and Roberts wrestling so earnestly with all the usual pseudo-scientific/humanitarian verbiage that the script hands them. And although the color is over-garish, the girls are attractively costumed.
In short, despite its many shortcomings, the movie has a modest appeal.
Copyright 1 February 1962 by Columbia Pictures Corp. New York opening at neighborhood theatres as a support to The Interns: 8 August 1962. U.K. release: 15 July 1962. 7,000 feet.
SYNOPSIS: Tells of he construction and demise of an experimental underwater city.
COMMENT: Although released in black-and-white in the U.S.A., this film was shown in color in England and Australia. True, the miniature special effects probably look more convincing in monochrome, but this is otherwise a movie that desperately needs color. The script is silly, the dialogue verbose, the plot wildly implausible, the direction flatly pedestrian.
On the other hand, the players manage to spark up a bit of interest, and the destructive climax is mildly diverting.
Even such tested economy devices as a solemnly delivered off-camera commentary over sluggish takes and stock footage add to the fun. It's also good to see veteran players like Reid and Roberts wrestling so earnestly with all the usual pseudo-scientific/humanitarian verbiage that the script hands them. And although the color is over-garish, the girls are attractively costumed.
In short, despite its many shortcomings, the movie has a modest appeal.
