Mysterious Island (1961)

Filmed at least nine times over the last nine decades, Jules Verne's Mysterious Island received its most popular picturization in the hands of producer Charles Schneer, director Cy Endfield and special-effects maestro Ray Harryhausen. During the Civil War, several P.O.W.s led by Gary Merrill escape from a southern stockade in a huge observation balloon. Buffeted about by a violent storm, the balloon lands on an unchartered island somewhere near New Zealand. The fugitives soon discover that this is no ordinary desert isle, especially after being attacked by a giant-sized crab. Joined by a pair of shipwrecked British gentlewomen (Joan Greenwood and Beth Rogan), the castaways find evidence that the island has been previously inhabited-and that they're all being watched. Sure enough, it turns out that the island is the domain of Captain Nemo (Herbert Lom), skipper of the futuristic underwater vessel Nautilus. Having failed to end all wars by blasting battleships out of the sea, Nemo is now experimenting with new means of ending starvation in the world: hence the outsized crabs and birds that the castaways have confronted. Before Nemo can spread his goodwill elsewhere, he is destroyed by the island's volcano, while the others manage to escape in the Nautilus.

As in 1957's 7th Voyage of Sinbad, the combination of Ray Harryhausen and musical composer Bernard Herrmann is unbeatable; otherwise, Mysterious Island tends to slow to a halt in-between its spectacular special-effects highlights.

IMDB

Harryhausen crossed Jules Verne with King Kong in his version of Mysterious Island, giving the author's Civil War castaways something really mysterious to look at for a change. The result is a Skull Island-style adventure with a nifty 19th century set-up, and one of the stop-motion maestro's most satisfying films. Harryhausen movies are at their best when Harryhausen is unabashedly the star—-as he is here in Mysterious Island. From this high-water mark in the early Sixties, Harryhausen's films slowly began to shipwreck on two constantly reiterated movie-making clichés. First, writers began to tell Harryhausen that his effects ought to be better integrated into the overall plot, that they ought not to be isolated set pieces sprinkled through the picture like plums in a fruitcake. Secondly, critics continued to repeat the old film music legend that movie scoring is best when it fades unnoticed into the background. Both of these old saws were, in fact, horrible lies. And Mysterious Island is great because Harryhausen and his composer were still refusing to take any notice of them. The effects sequences in Mysterious Island aren't plums in a fruitcake, they're solos in a symphony, they're like the soliloquies in Shakespeare. And Bernard Herrmann's scoring for these episodes is in your face…as it should be. It jumps up and screams "THIS IS A SET-PIECE…AND A GREAT ONE. KICK BACK AND ENJOY IT!" And this, once again, is as it should be. The truth is, that stop-motion isn't an effects technique. It's an art form. If you can't enjoy it for it's own sake, then you can't enjoy it. Every attempt Harryhausen later made to "integrate" his stuff just encouraged people to take it seriously–as a serious attempt, that is, to duplicate reality. Which it isn't. We go to a Harryhausen film for Harryhausen, just as we go to a Chaplin film for Chaplin. If you came in for some other reason, then you picked the wrong movie. That said, Mysterious Island really does work, I think, as a 60s "Jules Verne" picture. The period atmosphere is some of the best in any of those movies and the interesting Nautilus variation we see here is fun to look at in its own right. The acting is quite good also, and Cy Endfield is one of the better Harryhausen directors. But the Verne elements are really just the frame around the picture. Like I said, go for Ray's monsters–then go out and tell the world.

IMDB Reviewer

Extras:
- Theatrical Trailers (00:02:41)
- The Harry Hausen Chronicles (00:57:57)
- Mysterious Island Featurette (00:09:06)

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