Name	Around the World in 80 Days
Caption	Original theatrical poster
Director	Michael Anderson
Producer	Kevin McClory William Cameron Menzies Michael Todd
Writer	James Poe John Farrow S.J. Perelman
Based on
Starring	David NivenMario Moreno "Cantinflas"Robert NewtonShirley MacLaine
Music	Victor Young
Cinematography	Lionel Lindon
Editing	Howard Epstein Gene Ruggiero Paul Weatherwax
Distributor	United Artists
Released
Runtime	183 minutes
Country
Language	English
Budget	$6 million
Gross	$33 million

Around the World in 80 Days is a 1956 adventure film produced by the Michael Todd Company and released by United Artists. It was directed by Michael Anderson. It was produced by Michael Todd, with Kevin McClory and William Cameron Menzies as associate producers. The screenplay was written by James Poe, John Farrow and S. J. Perelman based on the classic novel of the same name by Jules Verne. The music score was composed by Victor Young, and the Todd-AO 70 mm cinematography was by Lionel Lindon. The film won multiple Academy Awards, including Best Picture.

The film's seven-minute-long animated title sequence, shown at the end of the film, was created by award-winning designer Saul Bass.

Plot

The film begins with a special onscreen prologue introduced by broadcast journalist Edward R. Murrow. and featuring footage of an early science fiction/fantasy film by Georges Méliès, A Trip to the Moon (1902), which is based loosely on From the Earth to the Moon by Jules Verne. Included also is the launching of an unmanned rocket and footage of the earth receding.

Around 1872, an English gentleman Phileas Fogg (David Niven) claims he can circumnavigate the world in eighty days. He makes a £20,000 wager (equal to £}} today) with several skeptical fellow members of the Reform Club, that he can arrive back within 80 days before exactly 8:45 pm.

Together with his resourceful valet, Passepartout (Mario Moreno "Cantinflas"), Fogg sets out on his journey from Paris via a hot air balloon. Meanwhile, suspicion grows that Fogg has stolen £55,000 (equal to £}} today) from the Bank of England so Police Inspector Fix (Robert Newton) is sent out by Scotland Yard to trail and arrest Fogg. Hopscotching around the globe, Fogg pauses in Spain, where Passepartout engages in a comic bullfight. In India, Fogg and Passepartout rescue young widow Princess Aouda (Shirley MacLaine) from being forced into a funeral pyre with her late husband. The threesome visit Hong Kong, Japan, San Francisco, and the Wild West. Only hours short of winning his wager, Fogg is arrested upon returning to London, by the diligent yet misguided Inspector Fix.

At the jail, the humiliated Fix informs Fogg that the real culprit was caught in Brighton. Though eventually exonerated of the charges, he has lost everything — except the love of the winsome Aouda. But salvation is at hand when Passepartout realizes the next morning that, by crossing the International Date Line, they have gained a day. There is still time to reach the Reform Club and win the bet. To the surprise of all waiting at the club, Fogg arrives just before the clock's chime at 8:45 pm. Aouda and Passepartout then arrive. Noticing Fogg's whole travel party has arrived, the Reform Club announces the completion of the journey.

Cast

The movie boasts a huge cast, with David Niven and Mario Moreno "Cantinflas" in the lead roles of Fogg and Passepartout. Fogg is the classic Victorian gentleman, well-dressed, well-spoken, and extremely punctual, whereas his servant Passepartout (who has an eye for the ladies) provides much of the comic relief as a "jack of all trades" for the film in contrast to his master's strict formality. Joining them are Shirley MacLaine as Princess Aouda and Robert Newton as the detective Fix, in his last role.

The role of Passepartout was greatly expanded from the novel to accommodate Cantinflas, the most famous Latin-American comedian at the time,{http://www.semana.com/cultura/palabra-pirueta/161809-3.aspx} and winds up the focus of the film. While Passepartout describes himself as a Parisian in the novel, this is unclear in the film—he has a French name, but speaks Spanish when he and his master arrive in Spain by balloon. In the Spanish version the name of his character was changed from the French Passepartout to the Spanish "Juan Picatoste". There is also a comic bullfighting sequence especially created for Cantinflas that is not in the novel. Indeed, when the film was released in non-English speaking nations, Cantinflas was billed as the lead. According to the guidebook describing the movie, this was done because of an obstacle Todd faced in casting Cantinflas, who had never before appeared in an American movie and had turned down countless offers to do so. Todd allowed Cantinflas to appear in the film as a Latin, "so," the actor said himself, "...to my audience in Latin America, I'll still be Cantinflas."

Over 40 famous performers make cameo appearances, including Marlene Dietrich, George Raft, and Frank Sinatra to name a few. The film was significant as the first of the so-called Hollywood "make work" films, employing dozens of faded film personalities. John Wayne turned down Todd's offer for the role of the Colonel leading the Cavalry charge, a role filled in by Tim McCoy. Promotional material released at the time quoted a Screen Actors Guild representative looking at the shooting call sheet and crying: "Good heavens Todd, you've made extras out of all the stars in Hollywood!" . As of Evelyn Keyes death in 2008, Shirley Maclaine and Glynis Johns are the last surviving members of the entire cast.

Complete credited cast

(excluded are numerous extras)

David Niven - Phileas Fogg

Mario Moreno "Cantinflas" - Passepartout

Shirley MacLaine - Princess Aouda

Robert Newton - Mr. Fix

Cameo appearances

Charles Boyer - Monsieur Gasse, balloonist

Joe E. Brown - Station Master, rural Nebraska

Martine Carol - Tourist, Paris

John Carradine - Col. Proctor Stamp, San Francisco

Charles Coburn - Clerk, Hong Kong

Ronald Colman - Railway Official, India

Melville Cooper - Steward

Robert Cabal - Elephant Driver-Guide

Noël Coward - Hesketh-Baggott

Finlay Currie - Whist Partner

Reginald Denny - Police Chief, Bombay

Andy Devine - First Mate, S.S. Henrietta

Marlene Dietrich - Hostess, Barbary Coast Saloon

Luis Miguel Dominguín - Bullfighter

Fernandel - Coachman, Paris

Walter Fitzgerald - Club Member

John Gielgud - Mr Foster, the Butler

Hermione Gingold - Sportin' Lady

José Greco - Dancer

Sir Cedric Hardwicke - General Sir Francis Gromarty, India

Trevor Howard - Falletin

Glynis Johns - Companion

Buster Keaton - Conductor

Evelyn Keyes - Flirt

Beatrice Lillie - Revivalist, London

Peter Lorre - Steward, S.S. Carnatic

Edmund Lowe - Engineer, S.S. Henrietta

A.E. Matthews - Club Member

Mike Mazurki - Character (in Hong Kong bar)

Col. Tim McCoy - Colonel, U.S. Cavalry

Victor McLaglen - Helmsman, S.S. Henrietta

John Mills - Cabby in London

Robert Morley - Ralph (Reform club)

Alan Mowbray - Consul

Edward R. Murrow - Narrator, prologue

Jack Oakie - Captain of S.S. Henrietta

George Raft - Bouncer at Barbary Coast Saloon

Gilbert Roland - Achmed Abdullah

Cesar Romero - Henchman

Frank Sinatra - Barbary Coast Saloon Pianist

Red Skelton - Drunk, Barbary Coast saloon

Ronald Squire - Club Member

Basil Sydney - Club Member

Richard Wattis - Insp. Hunter

Harcourt Williams - Hinshaw

Production

Around the World in 80 Days was produced by Michael Todd, a Broadway showman who had never before produced a movie. The director he hired, Michael Anderson, had directed the highly acclaimed British war movie The Dam Busters, the 1956 film of George Orwell's Nineteen Eighty-Four and other classic films. Todd sold his interest in the Todd-AO film format to help finance the film.

Filming took place in late 1955, from August 9 to December 20. The crew worked fast (75 actual days of filming), producing of film, which was edited down to of finished film. The picture cost just under $6 million to make, employing 112 locations in 13 countries and 140 sets. Todd said he and the crew visited every country portrayed in the picture, including England, France, India, Spain, Thailand and Japan. According to the Time magazine review of the film, the cast including extras totaled 68,894 people; it also featured 7,959 animals, "including four ostriches, six skunks, 15 elephants, 17 fighting bulls, 512 rhesus monkeys, 800 horses, 950 burros, 2,448 American buffalo, 3,800 Rocky Mountain sheep and a sacred cow that eats flowers on cue." The wardrobe department spent $410.000 to provide 74,685 costumes and 36,092 trinkets.

Some 10,000 extras were used in filming the bullfight scene, with Cantinflas as the matador, in Spain; Cantinflas had previously done some bullfighting. They used all 6,500 residents of a small Spanish town called Chinchón, away from Madrid, but Todd decided there weren't enough spectators. So he found 3,500 more from nearby towns. He used 650 Indians for a fight on a train in the West. Many were indeed Indians, but some were Hollywood extras. All 650 had their skin color altered with dye. Todd used about of orange-colored dye for those extras.

Todd sometimes used models of boats, ships and trains in the film, but he often decided that they didn't look realistic so he switched to the real thing where he could. The scene of a collapsing train bridge is partly without models. The overhead shot of a train crossing a bridge was full scale, but the bridge collapse was indeed a large scale miniature, verifiable by observing the slightly jerky motion of the rear passenger car as the train pulls away, as well as the slowed-down water droplets which are out of scale in the splashing river below. All the steamships shown in the first half are miniatures shot in an outdoor studio tank. The exception is the American ship shown at the intermission point, which is real. A tunnel was built for a train sequence out of paper mache. After the train filming was complete, the "tunnel" was pushed over into the gorge.

Many of the balloon scenes with Niven and Cantinflas were filmed using a crane. Even that height bothered Niven, who was afraid of heights. Tom Burges, who was shorter than Niven, was used as a stand in for scenes where the balloon is seen from a distance. Many of the lots used in the film are now on the land occupied by Century City, an office complex in the L.A. area.

One of the most famous sequences in the film, the flight by hot air balloon, is not in the original Jules Verne novel. Because the film was made in Todd AO, the sequence was expressly created to show off the locations seen on the flight, as projected on the giant curved screen used for the process. A similar balloon flight can be found in an earlier Jules Verne novel, Five Weeks in a Balloon, in which the protagonists explore Africa from a hot air balloon.

Release

The film premiered on October 17, 1956 at the Rivoli theater in New York City. By the time of Todd's accidental death 18 months later, it had grossed $33 million.

In Spanish and Latin American posters and programs of the movie, Cantinflas is featured over the other players since he was very popular there. There were two souvenir programs sold in theaters. For Roadshow screenings Todd-AO is mentioned, though for general release those pages are not contained in the book. The program was created by Todd's publicist, Art Cohn, who died in the plane crash with him. His biography, "The Nine Lives of Michael Todd" was published after their deaths which put a macabre spin on the title.

Reception

Bosley Crowther called the film a "sprawling conglomeration of refined English comedy, giant-screen travel panoramics and slam-bang Keystone burlesque" and said Todd and the film's crew "commandeered the giant screen and stereophonic sound as though they were Olsen and Johnson (remember them?) turned loose in a cosmic cutting-room, with a pipe organ in one corner and all the movies ever made to toss around."

Time magazine called it "brassy, extravagant, long-winded and funny" and the "Polyphemus of productions," saying "as a travelogue, Around the World is at least as spectacular as anything Cinerama has slapped together." Time highlighted the performance of "the famous Mexican comic, Cantinflas [who in] his first U.S. movie...gives delightful evidence that he may well be, as Charles Chaplin once said he was, "the world's greatest clown."

Awards and other recognition

Todd claimed that the film got 70 to 80 awards, including five Academy awards.

Academy Awards

The movie was nominated for eight Oscars, of which it was awarded five, beating out critically and publicly praised films such as The Ten Commandments, Giant, and The King and I:

Won: Best Picture - Michael Todd, producer

Won: Best Cinematography, Color - Lionel Lindon

Won: Best Film Editing - Gene Ruggiero and Paul Weatherwax

Won: Best Music, Scoring of a Dramatic or Comedy Picture - Victor Young

Won: Best Writing, Best Screenplay, Adapted - John Farrow, S. J. Perelman, and James Poe

Nominee: Best Art Direction-Set Decoration, Color - Ken Adam, Ross Dowd, and James W. Sullivan

Nominee: Best Costume Design, Color - Miles White

Nominee: Best Director - Michael Anderson

Although not nominated for best original song, the film's theme song "Around the World" (music by Victor Young, words by Harold Adamson), became very popular. It was a hit for Bing Crosby in 1957, and was a staple of the easy-listening genre for many years: "Around the world I searched for you / I traveled on when hope was gone to keep a rendezvous ... No more will I go all around the world / For I have found my world in you."

Golden Globes

The movie was also nominated for three Golden Globes, of which it was awarded two:

Won: Best Dramatic Motion Picture - Michael Todd, producer

Won: Best Motion Actor in a Comedy/Musical Film - Mario Moreno "Cantinflas"

Nominee: Best Director - Michael Anderson

Other awards

The film received the New York Film Critics Circle Award for Best Picture and Best Screenplay award for S. J. Perelman.

The film won the Writers Guild of America Best Written American Comedy award for James Poe, John Farrow and S. J. Perelman.

The film was screened at the 1957 Cannes Film Festival, but was not entered into the main competition.

Anniversary celebration

On the first anniversary of the film's release, Todd threw a party at the Madison Square Garden attended by 18,000 people; Time magazine called the party a "spectacular flop" though Todd shrugged off the remark, saying "you can't say it was a little bust."

Distribution and ownership

The film was originally distributed by United Artists in two Todd-AO 70 mm versions, one for Todd-AO 70 mm release at 30 frames per second, and an alternate 70 mm version at 24 frames per second reduced to 35 mm for general release.

The original Todd-AO 70mm running time without the extra music was 179 minutes. However, after the Chicago showing Todd cut four minutes out of the Western sequence where Cantinflas is pursued by Indians. The 70mm print shown at The Rivoli theater in NYC was 175 minutes. However, the original 35mm Technicolor/anamorphic magnetic stereo and mono optical prints ran the complete 179 minutes with the chase scene intact. Although the leaders on the optical sound prints were labeled for Perspecta directional encoding, the prints do not contain the signal and were standard mono.

In 1968, additional cuts were made including removing most of the prologue with the changing aspect ratios. Only a brief few shots with Edward R. Murrow remained and the entire "Trip to the Moon" clips were cut. Since the opening shot of Murrow was 1.33 window boxed in the wide frame, they had to crop and blow up that shot for the 2.35 ratio which made it very grainy. The intermission was also cut for the 1968 re-release which included the freeze frame of the ship and fade in to the second half. The reels just jump cut with an awkward sound gap between the first and second half. The chase scene was missing from this version too which reduced the running time to 167 minutes. However, some uncut 179 minute 35mm Technicolor prints were struck too which meant at least some theaters played the Roadshow version even though the vast majority showed the shorter cut. 35mm IB/Scope copies of both versions exist from 1968. The 24 frames per second 70mm prints were also the 167 minute version in that year too. As a publicity stunt, Todd Jr. called the press when he removed a 70mm copy from a bank vault claiming it had been stored there since 1956 for safe keeping and was being shown at a theater again. It was absurd since an original 70mm would've faded to pink by 1968 and the copy they exhibited was the cut re-issue 167 minute version.

Around 1976, after its last network television broadcast on CBS, UA lost control of the film to Elizabeth Taylor, the widow of producer Michael Todd and who had inherited a portion of Todd's estate. In 1983, Warner Bros. acquired the rights to the film from Taylor, and reissued the film theatrically in a re-edited 143-minute version (this version would subsequently air only once on Turner Classic Movies, this was before any restoration on the movie was announced). In the years that followed, a pan-and-scan transfer of the alternate 24 frame/s version (presented at its full 183-minute length) was shown on cable television.

In 2004, WB issued a digitally restored version of the 24 frame/s incarnation on DVD, also at its full 183-minute length, but also including the original intermission, Entr'acte, and exit music segments that were a part of the original 1956 theatrical release, and for the first time on home video at its original 2.2:1 aspect widescreen ratio.

This restored version was reconstructed from the best available elements of the 24 frame/s edition WB could find, and was subsequently shown on Turner Classic Movies. The original elements from the 30 frame/s/70 mm Todd-AO version (as well as the original prints derived from these elements) still exist, albeit in faded condition due to the passage of time, but remain to be formally restored by WB. There is some missing footage in the India train ride where the image artificially fades in and out to compensate for the missing shots.

Warner's retained Andy Pratt Film Labs who in conjunction with Eastman Kodak developed a method to remove the cracked and fading to brown, clear lacquer from the original 65 mm Technicolor negative. Warners did nothing further to restore the negative. Due to costs of making a 70 mm release print even without magnetic striping, using DTS disk for audio, there are no immediate plans for any new prints. The 65 mm roadshow print negative was used for the DVD release. Had any 35 mm Anamorphic elements been used the aspect ratio would have been 2.35:1. Mike Todd had limited 35 mm anamorphic prints made with a non-standard compression ratio to provide a 2.21:1 viewing experience. These special 35 mm prints are called Cinestage, the same name of Mike Todd's showcase theatre in Chicago.

Best available prints of the 30 frame/s/70 mm version have recently been exhibited in revival movie houses worldwide. As of the present time, WB remains the film's rights holder.

Soundtrack and DVD releases

The DVDs for Around the World... include four hours of supplemental material, in addition to the (apparently restored) three-hour wide-screen color film. Also included on one of the disks is a documentary film, about 50 minutes long, about Mike Todd.

The soundtrack to the film was released in vinyl and audio tape for home use. Later two CD versions were released as well. A digital copy of the basic album and an expanded version with extra tracks not released to consumers. There was also a model kit of the balloon, a board game, and Dell comic book adaptation sold as merchandise. A Cantinflas puppet was also released as merchandise and, while unrelated directly to the movie, the puppet was dressed in a similar outfit so it could be considered as another movie tie-in.

See also

Around the World in 80 Days (2004 film)

Around the World in Eighty Days (book)

Sati (practice)

The Great Race

The Three Stooges Go Around the World in a Daze

References

External links

Alternate prologue from in70mm.com

Category:1956 films Category:American films Category:English-language films Category:1950s adventure films Category:Adventure comedy films Category:Best Drama Picture Golden Globe winners Category:Best Picture Academy Award winners Category:Epic films Category:Films based on the works of Jules Verne Category:Films directed by Michael Anderson Category:Films featuring a Best Musical or Comedy Actor Golden Globe winning performance Category:Films set in San Francisco, California Category:Films set in the 1870s Category:Films shot in 70mm Category:Films shot in Madrid Category:Films shot in Todd-AO Category:Films whose cinematographer won the Best Cinematography Academy Award Category:Films whose editor won the Best Film Editing Academy Award Category:Films whose writer won the Best Adapted Screenplay Academy Award Category:Best Original Music Score Academy Award winners

ca:La volta al món en vuitanta dies (pel·lícula de 1956) de:In 80 Tagen um die Welt (1956) el:Ο γύρος του κόσμου σε 80 μέρες (ταινία 1956) es:La vuelta al mundo en ochenta días (película de 1956) eu:Around the World in Eighty Days fr:Le Tour du monde en quatre-vingts jours (film, 1956) gl:Around the World in Eighty Days (1956) ko:80일간의 세계일주 (1956년 영화) id:Around The World In Eighty Days (film 1956) it:Il giro del mondo in 80 giorni (film 1956) he:מסביב לעולם בשמונים יום (סרט, 1956) nl:Around the World in Eighty Days (1956) ja:八十日間世界一周 (映画) no:Jorden rundt på 80 dager (film) pl:W 80 dni dookoła świata (film 1956) pt:A Volta ao Mundo em 80 Dias (1956) ru:Вокруг света за 80 дней (фильм, 1956) fi:Maailman ympäri 80 päivässä (vuoden 1956 elokuva) sv:Jorden runt på 80 dagar (film, 1956)