Atlantis falls at her feet

All in all, a good pic, but to be viewed by intelligent spectators who can delve into history without expecting too much. There are some nice extras, even including an alternative ending, made for the Russian market! Bunuel 5 April The first time I ever heard of this movie was while reading a lengthy online interview with noted film preservationist David Shephard wherein he named it as his favorite film but, having now watched it for myself, frankly I was quite disappointed.

ATLANTIS is inspired by a book which had anticipated the Titanic tragedy - although, as depicted here, the shipboard section only takes about half-an-hour occurring mid-way through the proceedings of this minute film; essentially. The film opens in decidedly unusual fashion with a moving depiction of a mental case, but this is soon followed by what has to be one of the silliest dance numbers ever put on film, as the husband of the aforementioned patient goes around the world to rethink his situation and bafflingly falls for the resistible charms of the chubby ballet performer, ending up with her on a ship that collides with a wrecked vessel due to thick fog!

The husband is, understandably perhaps, a rather morose fellow, going from place to place - Berlin, Paris, New York, and eventually ending holed up in a mountaintop cabin - and from woman to woman without ever acquiring happiness; as it turned out, some of the film's best scenes are those depicting the bustling N. What's more, the title of the film is misleading because, while the main character supposedly dreams himself in the famed underwater city prior to the sinking of the ship , the scenes take place above ground and are extremely brief to boot!

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Thankfully, the occasional visual aestheticism of the film is preserved by the generally good quality of the print on hand and its transfer to DVD and one only needs to take a look at the ragged excerpt from a Japanese print included as a supplement to appreciate the sheer amount of work that went into restoring the film. Ziggy 27 June Denmark's Atlantis , another ship-sinking story influenced by the Titanic tale and filmed off the coast of New Zealand, was one of the first full-length films ever made - it had a 1 hour, 53 minute running time.

This version of the story from director August Blom appeared to sink a full-scale boat for realism.

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It was a very realistic and naturalistic-looking Titanic film with a well-staged action scene of the ship's sinking. The story is rather simple, despondent over his institutionalized wife, a doctor endeavors to cope by traveling through Europe and eventually to New York, surviving an ocean liner sinking on the way. The film was hailed as an impressive achievement for the cinema of , especially for the sinking liner sequence that was influenced by the Titanic disaster.

It was also one of the most popular films of the silent decades, and a worldwide smash hit. Cineanalyst 7 February The year was pivotal for the emergence of feature-length films on both sides of the Atlantic. The major film producing nations released some of the most seminal works of the era. Italians began making the historical epics, such as "Quo Vadis? Among the good is the briskly edited and well photographed shipwreck sequence, which included the sinking of a real ship.

For that alone, I recommend this film. Additionally, there are some interesting scenes of contemporary Berlin and New York. Viewers may notice that some people gawk at the camera in these street scenes, demonstrating that they were not paid extras. In another scene, a cabin room shakes during the disaster.

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There are also some lovely sunset shots, and the Danish Film Institute reconstruction is very sharp, with some very good and appropriate reconstructed tinting and toning. Now, this film also has its drawbacks, which are significant. Mostly, the narrative is extremely dull. Unfortunately, this appears to be a prevalent case with Danish films preceding those by Benjamin Christensen and Carl Theodor Dreyer. I don't just mean the story, either; the narrative structure is plodding and non-linear in that the plot often wanders into superfluous and uninteresting directions.

Of the eight Danish films I've commented on from before , almost all are of the sensational circus genre. Further research testifies that this was the predominant type of picture produced in Denmark at the time. Moreover, there's the multiple women problem that typically besets the male protagonists this film's lead abandons his institutionalized wife, chases after a dancer, is "cured" by another woman, and also has a fleeting moment with a Russian Jewess.

In addition to the film's narrative problems, there's the abominable performance by the miscast Ida Orlov as the dancer who the protagonist desires. Director Blom doesn't help matters, either, with the especially long, static and boring scenes of her lounging on the ship, with her pet monkey, and flanked by suitors. There's also the embarrassing stage dance. Some scenes, such as static long shots that last for extended lengths of time, are rather characteristic of the era and, thus, quite dated.

Nevertheless, I consider "Atlantis" one of the best feature-length films made before A final note to those curious in this film because of Titanic or the Atlantis civilization myth: Obviously, one can make plenty of comparisons between the fictional and historic events. Most of this film isn't about an ocean liner disaster, though.

The title "Atlantis", in the film, refers to a very brief dream scene the protagonist has during the shipwreck, where he imagines he is in the lost city of Atlantis.

Atlantis appears as a village above water, and double exposure photography is used to dreamlike effect. This movie is supposed to be based on a semi-autobiographical drama of the author Hauptman.. While dramatisation, he has modified quite a few aspects, the poet dramatist Hauptmann has become a Bacteriologist Kammacher and the estranged wife Marie has become insane Angelique.

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One of the parts, supposedly forced on by Hauptmann, as a precondition for allowing the drama to be made into a movie was of the un-armed virtuoso Stoss played by the real life armless virtuoso Charles Unthan was extraneous to the narrative, but then it made me aware of the person, and his genius, so I won't bicker on that.

The other part, or rather the actress, that had been forced on the movie, was the cabaret performer Hahlstroem Orloff , who was the real life flame of Hauptmann for some time. While changing the actual story to the screen-play, there were some changes made, and that were actually to the detriment of the story. Despite her bouts of insanity, the hero, Kammacher, loved his wife, Angelique, and he had gone to US, in search of a cure. That aspect had been glossed over, and hence the shock, at the death of Angelique becomes strange. In between his infatuations with Orloff doesn't contradict his love the opening Spider and moth dance had already delineated that.

I wonder how Orloff, it being her real life narrative too, agreed to do the part, which completely lacks sympathy. Though the role wasn't of a spider, more of a social butterfly. In real life too, Hauptmann was attached to his wife Marie, and tried to reconcile, after his affair, not with Orlofff but with his would be second wife, Margaret, became known and she walked away on him. Had it been handled a bit better, it would have been a master piece.

Along with the above, and a few more, disconsonant factors, it also lacked pacing. Some of the reviewers had mentioned it to be slow. I will agree to a certain extent. It was slow at wrong places. Where it should have been slow, to build up the narrative, it went through too fast. For example Eva's character was never properly build up. Over all, it isn't a bad movie for , in fact it is quite above average, but missed, by just a few notches, to become a masterpiece. JurijFedorov 27 February I found this movie on Youtube and decided to watch it.

It's actually not enjoyable at all. I wanted to like it and enjoy it as I enjoy some old comedies. But this is a drama that seems to go on forever. Even small scenes seems to go on for minutes at a time. A woman is flirting with a man? Such a scene would take a minute without anyone saying anything. The beginning would probably have been done in 5 minutes today but it took a long time to get through it. It takes them 30 min to get to the ship. And the sinking is just a small part of the movie. It's really a romance that seems forced and silly. Whichever approach one takes, Atlantis: The Lost Empire is not worthy of any recommendation, being one of the laziest animated films in recent memory.

I argued that while PIXAR were pushing the envelope of what mainstream animation could achieve, Disney were aggressively re-treading old ground, "trying to push the same old stuff overlaid with snazzier visuals.



Apologists may defend Atlantis as a break from the Disney norm of fairy tales and princesses. But this argument holds no water, since in every other way the film is conventional to the point of utter contempt. The film is a relentless race to the bottom, treating its audience young and old like complete idiots and not offering up one original or creative idea in compensation.

It's ironic that the film disappointed at the box office, considering that most of it feels like it was created to sell a toy rather than tell a story. All this could be somewhat rationalised if the film were a straight-to-video project, or an episode of a TV series based on another Disney film. Most of us are aware of Disney's track record in this regard, and would therefore lower our expectations from expecting the best to hoping for something other than the very worst.

The only thing more painful than a bad film made by bad filmmakers is a bad film made by good filmmakers. It's clear that Trousdale and Wise's strengths lie in adapting existing stories. Beauty and the Beast and The Hunchback of Notre Dame both come from reputable sources, and both successfully channel the sources' darkness for a younger audience.

Atlantis, by comparison, is utterly aimless, floating from set-piece to set-piece without a map or rudder.

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For all the flack that Disney gets for its creative liberties in adaptation, its attempts at original material are often just as inept. What makes this all the more painful is that there is so much potential within this story. The myth of Atlantis is a fascinating one which opens up all kinds of possibilities about different cultures, languages and technologies. Even if the myth were handed with kid gloves, this could have still have been a really fun adventure.

The setup is an enticing blend of Jules Verne, Tintin and Indiana Jones, with Atlantis serving as the great, undiscovered 'other world' into which our heroes venture as the eyes of the audience. But all of this potential is quickly squandered, thanks to poorly-drawn characters and terrible storytelling.

The writing is so lazy that there is actually a scene where most of the characters sit down and tell their backstories one at a time. Alfred Hitchcock once said that exposition was a bitter pill that had to be sugar-coated for audiences, and no amount of sweetness or visual beauty can make up for this particularly bitter pill. As for the plot of Atlantis, it's deeply derivative to say the least. It is possible for a film to come from well-worn conventions and yet still offer something new - Indiana Jones is a brilliant example.

But there comes a point when similarity to another work becomes so close that is borders on plagiarism or self-parody, and Atlantis falls firmly into the latter trap. The plot is essentially the same as Pocahontas, with the central relationship between Milo and Kida having the same dynamic as John Smith and Pocahontas. The traveller or pioneer falls in love with the native's daughter, conflict ensues and they unite to save their two worlds. That would be fine, except that the lead-up to finding Atlantis takes far too long, with the film getting bogged down in needless distractions, lazy exposition or bad jokes.

And that's before we address the use of language in the film: Disney commissioned Marc Okrand to create a whole new language for the Atlanteans to speak, only for the language barrier to be dealt with in the stupidest possible way yes, worse than magic leaves. The influence of Indiana Jones is writ large over Atlantis - the filmmakers even cited Raiders of the Lost Ark as their inspiration for shooting the film in widescreen.

But if the Pocahontas similarities aren't enough to put you off, then you could easily transpose the plot of Last Crusade onto the film, to the point where the characters completely overlap. Milo's decision to go after Atlantis is driven by the need to fulfil his father's dream - the same reason that Indy takes up the quest for the Holy Grail. Rourke is essentially Walter Donovan, appearing to be on the heroes' side but ultimately wanting the 'grail' for his own power. You could even argue that his assistant, Lieutenant Helga, doubles for Dr. Elsa Schneider - though the film doesn't imply that both father and son were attracted to her.

The difference between Last Crusade and Atlantis lies in the level of affection for the story and character archetypes. Indiana Jones is driven first and foremost by a deep-seated love for the fantasy and adventures genres. Even when the series became one of the biggest in film history, the films never felt like blatant cash-grabs on the part of the studios.

Atlantis has creative talent and affection somewhere in it, but the film has been trampled on by uncreative minds, whether in marketing or middle management. Internal logic is an important aspect in all fantasy stories, and Atlantis doesn't make a great deal of sense on either a physical or a mythological level. We may be able to laugh at the idea of sentient crystals after Kingdom of the Crystal Skull, but in this context the film sets up the idea and then makes no effort to explain it.

It's just another plot device, designed to take Kida out of the picture for a quick battle scene. The film is structured like an ADHD theme park ride, its goal being to keep you distracted for as long as possible so that you don't have the chance to stop and take in this potentially complex world - and then proceed to pick it apart. This rollercoaster approach to storytelling also defeats the film's big trump card - its visuals. Atlantis was the first Disney film presented in 70mm since The Black Cauldron - another film that was brutally compromised by studio interference.

The animation is very pretty, with a nice range of colours and tones underscored by shimmering, iridescent blues. But even the prettiest scenes aren't impressive because the editing is choppy and we don't care about the characters. There's very little use made of the widescreen presentation, and the 70mm format is thoroughly wasted. The Lost Empire is one of Disney's most conspicuous and disappointing failures.

It epitomises the studio's reputation for brand paranoia, taking a potentially interesting and entertaining premise and draining it of all creativity and elegance.

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The result is a crushingly dull and uninspired offering whose only function is to depress and reinforce bad feelings towards the company. It's awful, tedious, lazy and empty - and really, really stupid. Very disappointed with this film. I felt like I was watching a kids film trying to become a live action picture and failing miserably. It is far too smart for it's own good and the adult humour doesn't suit the tone of the film very well.

It's definitely not an easy film to watch, and quite frankly, I was more annoyed watching it than anything. It felt like the same thing over and over again. The voice acting even felt a little off to me. Overall, it was an unpleasant film to watch! More Top Movies Trailers. DC's Legends of Tomorrow: Black Panther Dominates Honorees. Trending on RT Avengers: Atlantis - The Lost Empire Post Share on Facebook. Movie Info The first Disney cartoon to be produced in the 70 mm format since The Black Cauldron , this blend of traditional animation with computer-generated imagery is a straight adventure tale of the Jules Verne school, eschewing the studio's typical formula of cute critters mixed with song-and-dance routines.

Fox is the voice of Milo Thatch, a lowly museum employee and linguist in the early 20th century who's determined to continue his late grandfather's search for the lost, sunken empire of Atlantis. Bankrolled by eccentric millionaire Preston Whitmore John Mahoney , Milo teams up with a diverse crew of mercenaries led by submarine commander Rourke James Garner.

After a sea battle with a giant denizen of the deep, the explorers locate the submerged civilization. Milo falls in love with Princess Kida Cree Summer , the daughter of Atlantis' aged ruler Leonard Nimoy , and must choose sides when it's revealed that some of his fellow expedition members intend to steal a mystical energy source from their hosts. Although considered a shoo-in for a nomination in the debut year of the new Oscar category of Best Animated Feature, Atlantis: