Polished up to something near its original gloss from 24-fps elements (the 30-fps RoadShow special engagement version too damaged for resuscitation?), producer Mike Todd’s crap-shoot extravaganza is again able to make its mark after decades of neglect and degraded presentation (grainy third-generation copies, cut prints, pan-and-scan framing), not so much as a great movie but as a great show . . . as in showmanship. (In spite of its Best Pic Oscar®, the only thing in it approaching film artistry is Saul Bass’s animated credit sequence at the end; and Victor Young’s sumptuous score, a big bestseller for Decca Records. Director Michael Anderson’s efforts no more than dutiful, meant to serve the spectacle.) David Niven & Cantinflas make an endearing one-off partnership as punctilious gentleman Phileas Fogg and flighty but resourceful servant Passepartout, barely getting thru some adventure at every port of call as they (circum)navigate dangers to win a bet; hounded each step of the journey by Robert Newton’s Inspector Fix and briefly bumping into half the well-known personalities of the day. (Many, no doubt, a complete mystery to modern audiences.) In her first film role (third to be released), Shirley MacLaine is wildly miscast as an Indian Princess, but still charming. All in all, the film makes for politely humorous, if pointedly leisurely fun*, offering its wisp of a story on a huge canvas meant to out-dazzle Cinerama as visual spectacular. Note the ‘You Are There’ POV shots popping up every reel or so to amaze the child traveler in us all.
ATTENTION MUST BE PAID: *The leisurely quality quite intended; audiences wanted to get their money’s-worth on those pricey RoadShow advance-ticketed reserved seats.
SCREWY THOUGHT OF THE DAY: Half of Oscar’s Best Pic winners in the ‘50s Commie Witch-Hunt Era were Big/Safe choices like 80 DAYS, THE GREATEST SHOW ON EARTH, AN AMERICAN IN PARIS, BEN-HUR and GIGI. (Two of these, legit choices as the year’s best.)
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