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Browse by Genre .hey here we are a real post Le Tour du monde en 80 jours by Jules Verne ‘To go around the world…in such a short time and with the means of transport currently available, was not only impossible, it was madness’ One ill-fated evening at the Reform Club, Phileas Fogg rashly bets his companions 20,000 that he can travel around the entire globe in just eighty days—and he is determined not to lose. Breaking the well-established routine of his da… Le Tour du monde en 80 jours Author Le Tour du monde en 80 jours Reviews Charity Nov 10, 2008 I finished today and it was even better than I remembered from my childhood. Admittedly, the version I had read as a child was the edition that was, unfortunately, abridged. I felt that a reading of the unabridged classic was long overdue. Shockingly enough, I still remembered the ending 20 years later.

Just the task Phileas Fogg faces in traveling the world in 80 days (in the 19th century) and the obstacles that pop up to delay his travels w I finished today and it was even better than I remembered from my childhood. Admittedly, the version I had read as a child was the edition that was, unfortunately, abridged. I felt that a reading of the unabridged classic was long overdue. Shockingly enough, I still remembered the ending 20 years later. Just the task Phileas Fogg faces in traveling the world in 80 days (in the 19th century) and the obstacles that pop up to delay his travels would make for a fabulous story, but the element of a cat-and-mouse chase really puts this book over the top! I highly recommend it for anyone who loves grand adventure stories. I can see why Jules Verne is touted as one of the finest French authors. He is deserving of all accolades! Mark May 29, 2008 Really neat story. It was a fun view into life about a century ago.

My only nit with it was with the particular audio book I heard: an annoying afterward that publisher felt he had to append. In it, he explained to us how Mr. Verne’s views of other cultures are simply not acceptable to modern people such as ourselves, and although he has transgressed and used stereotypes of different cultures the book still has some value. I found it unfair and unnecessary. Verne’s depiction of different cultures Really neat story. It was a fun view into life about a century ago. My only nit with it was with the particular audio book I heard: an annoying afterward that publisher felt he had to append. In it, he explained to us how Mr. Verne’s views of other cultures are simply not acceptable to modern people such as ourselves, and although he has transgressed and used stereotypes of different cultures the book still has some value. I found it unfair and unnecessary. Verne’s depiction of different cultures includes stereotypes, of course, but he goes out of his way to present a variety of individuals in each culture. Some are good, some are bad. Some fit the stereotypes, and some don’t. In other words, he describes the world as he saw it.

I don’t need someone to explain to me that the book still has some value. David Sasaki Jan 11, 2009 Whether or not you’ve read the novel or watched the movie, Jules Verne’s is so embedded in Western culture that just about everyone knows the basic plot premise: wealthy and reticent Englishman Phileas Fogg makes gentlemanly bet with his chums that he can travel around the world in 80 days and then sets off with his temperamental French servant to do just that. The idea for the story from the actual journey of eccentric Bostonian . (Who liked Whether or not you’ve read the novel or watched the movie, Jules Verne’s is so embedded in Western culture that just about everyone knows the basic plot premise: wealthy and reticent Englishman Phileas Fogg makes gentlemanly bet with his chums that he can travel around the world in 80 days and then sets off with his temperamental French servant to do just that. The idea for the story from the actual journey of eccentric Bostonian .

(Who liked to refer to himself as “Citizen Train” – check out the .) What I hadn’t expected of Verne’s novel is that it is such a blatant reminder of how far we’ve come in the last 135 years since colonialist superiority was treated as unquestioned fact: Similar descriptions applied to Punjabis, Chinese, and Native Americans are littered throughout the book. It’s also clear that, at the time of writing the novel, Verne was an . Not only is the book a celebration of the British empire at its peak, but Verne is constantly praising Fogg’s alleged English qualities (honor, stoicism, courage) and jabbing at his servent Passepartout’s Frenchness (temperamental, impetuous, chatty). What I found fascinating about has nothing to do with the book itself, but rather how Jules Verne wrote it. When he was a young boy, , he ran away from home and attempted to sail out to sea to follow the adventures of . Having failed, he promised his mother that “henceforth I will travel only in dream.” For the rest of his writing career Verne rarely traveled.

Rather he would surround himself with books and research the landscapes of his novels without ever setting foot there himself. In the , Jules Verne might be what you consider an OG bridgeblogger. If you have even the most remote interest in African issues then you probably follow Ethan’s blog. He is incredibly talented at consuming and digesting large volumes of information about a complicated topic and then presenting that information in an easy-to-follow narrative that doesn’t simplify its complexity. But in all my years of following Ethan’s blog I think he’s only traveled to Africa for two short conference-related trips. The obvious difference between Ethan and Jules (apart from the fact that Ethan is both nicer and more empathetic) is the number of research and communication tools that we now have at our disposal. Verne had his local library, letters, and the telegraph. Today, apart from being able to glimpse the front pages of hundreds of newspapers from around the world at the , we are also able to learn about the world around us in real time thanks to , , , and . What’s more, we can – and often do – develop real and meaningful friendships from our interactions on those sites.

Still, there is something about being on the ground, there in person, that allows you to soak in and understand new lands, cultures, and customs in a way that even the most advanced virtual worlds . I doubt that Ethan would be such an impassioned Africaphile were it not for . And , if he really wants to understand the Middle East, the best thing to do is move there. (Though would have been a brave gesture of sincerity.) I do understand that increased international travel is neither good for our environment nor our budgets. But, done responsibly, it is good for humanity. The more we experience other cultures the more we understand about ourselves and our place in the world. Which is why I wholly support initiatives like Abby Falik’s (which hopefully won’t be bogged down by the bureaucracy, legacy, and politics of Peace Corps). As notes in a , Verne’s novel celebrated the technological advances of the industrial era. Thanks to the steam engine, railways, and global colonialism, it was possible for the first time to circumnavigate the globe in just 80 days. Today we’re still at the dawn of a new era of technological advances: pervasive networked and structured data. These tools will lead to a new era of exploration.

There are no longer new lands, tribes, and cities to discover. Just by starting up Google Earth we can cast our eyes on every hidden corner of the world. The curiosity that inspires exploration, however, remains. Something keeps traveling and dancing around the world and keeps daydreaming about his next trip to Guyana or Venezuela or Argentina. Something inspired to travel around the world in 800 days. But exploration today isn’t about discovering the so-called undiscovered. It’s about understanding what has been there all along. Fabian Jan 06, 2017 Well… So I saved a book’s life. About to be tossed away, being a garage sale pariah, I not only took it home; I READ it. Aglow with endearing cliches, this is the source of plenty of adventure stories, many of which are films, comics, etc. Verne’s imagination is grand & the plot is silly and almost kid-like. But absurd it ain’t. It is fun exactly because there is a topsy turvy madness to visiting places just to prove a point. It is fun because it is rife with interesting observations, fact Well… So I saved a book’s life.

About to be tossed away, being a garage sale pariah, I not only took it home; I READ it. Aglow with endearing cliches, this is the source of plenty of adventure stories, many of which are films, comics, etc. Verne’s imagination is grand & the plot is silly and almost kid-like. But absurd it ain’t. It is fun exactly because there is a topsy turvy madness to visiting places just to prove a point. It is fun because it is rife with interesting observations, factoids, themes that in Verne’s day were barely in development. There is romance, the plot is thick with well… things happening, a ticking clock looms a large shadow, and a velocity is masterfully established that seems almost incredibly doable— the reader wants to experience this. (Airplanes suck ass anyway.) Lyn Aug 29, 2016 Around the World in Eighty Days was first published by Jules Verne in 1873, and was introduced to an adoring public as monthly installments. Each chapter is thus seen as connected but with its own hooks and cliffhangers.

The character of Phileas Fogg has become a stoic archetype for too cool operators in books to come in several genres. This is fast moving and fun, still a good read over a hundred years later. One very interesting aspect of the narrative was the portrait of the American west in Around the World in Eighty Days was first published by Jules Verne in 1873, and was introduced to an adoring public as monthly installments. Each chapter is thus seen as connected but with its own hooks and cliffhangers. The character of Phileas Fogg has become a stoic archetype for too cool operators in books to come in several genres. This is fast moving and fun, still a good read over a hundred years later. One very interesting aspect of the narrative was the portrait of the American west in the 1870s from a European perspective. Jason Koivu Jul 02, 2014 Ah ha! So the reason for it being specifically 80 days! Baba ♥♥♥ Tyler, Marcus, Archer, Dean, Adrian, Dan & Hunter Aug 09, 2015 A couple days ago my son and I were talking about boring classroom reading material.

This reminded me that I never rated this glorious piece of classic literature. How anyone would insist that students had to mandatorily read it in the 80s is beyond me, let alone in the 21st century. A couple years ago, when my son came home with that little paperback edition and whined about how incredibly uninteresting this “gem” is, I calmed him down by saying A couple days ago my son and I were talking about boring classroom reading material. This reminded me that I never rated this glorious piece of classic literature. How anyone would insist that students had to mandatorily read it in the 80s is beyond me, let alone in the 21st century. A couple years ago, when my son came home with that little paperback edition and whined about how incredibly uninteresting this “gem” is, I calmed him down by saying that I felt for him because it bored me to tears back in the 80s. Yes, I have no scruples to say that I hated it. #sorrynotsorryatall Apatt Aug 26, 2015 More like five days for me really, though even that is too long for a 250 pages book.

Well, it’s an audiobook and I only listened to it while commuting to work. Yes, that is a silly intro but what I meant is that while listening to the book I often felt transported along with Phileas Fogg and crew. This is my first Jules Verne book, normally I prefer to read books in the original language they are written in because with translated books there is always an added layer between the translator and t More like five days for me really, though even that is too long for a 250 pages book. Well, it’s an audiobook and I only listened to it while commuting to work. Yes, that is a silly intro but what I meant is that while listening to the book I often felt transported along with Phileas Fogg and crew. This is my first Jules Verne book, normally I prefer to read books in the original language they are written in because with translated books there is always an added layer between the translator and the original text. Still, if I avoid reading translated novels altogether I would have missed out on some great literature.

This edition from Librivox* was translated by George Makepeace Towle, obviously I don’t know how accurate the translation is but the prose is very readable and the narrative entertaining. I was immediately taken by the chummy tone of the narrative. Even though noting much happen in the first chapter I enjoyed Verne’s description of Phileas Fogg, a rather eccentric and enigmatic English gentleman; “exactitude personified” as Verne (or Towle?) puts it. The amusingly unflappable Fogg has a great foil in Passepartout (sounds like “passport two” in the audio). Passepartout is Fogg’s butler and sidekick, not so much Robin (as in Batman), or Jeeves, as Sancho Panza from , he is bumbling, loyal and extremely likable; his IQ seems to go up and down as the plot dictates though. The basic plot of is very simple, the novel tells the story of Phileas Fogg’s attempt to travel the world in no more than 80 days for a bet.

He is accompanied by Passepartout, along the way they pick up a couple of characters to form an entourage and they go through several hair-raising adventures. The book is pretty much a romp from beginning to end, necessarily moving at breakneck speed as time is obviously limited and the page count is quite modest. One thing that surprises me is that Verne, a French author chooses an Englishman for his hero and Passepartout, a Frenchman, as his bumbling sidekick. Was Jules Verne an Anglophile? Let me know in the comments please. Of the other main characters, the Indian girl Aouda, who Fogg and Passepartout rescue from some zealot villains, seems to have very little in the way of agency. Then we have a Scotland Yard detective named Fix who is incredibly single-minded in his pursuit of Phileas Fogg (I keep imagining a musical adaptation of this book where he sings “I will try to Fix you”), I like him. Coming back to Fogg himself, he starts off being interestingly enigmatic and unflappable but by the end of the book seems like a one note character. That quote sums him up nicely.

So Passepartout remains the novel’s best character for me. Not much left for me to say really is a hoot and I recommend it. I will certainly read , is my kind of guy! ________ , entertainingly read by Ralph Snelson, thank you! My thanks to Lyn, an excellent GR friend and reviewer, prompted me to read this book. Miquel Reina Jan 07, 2016 I’m a big fan of adventure and travel novels, so I couldn’t stop recommending this wonderful and famous book by Jules Verne. After reading it, I’m sure you will want to make a great trip and took a year off to follow in the footsteps of Phileas Fogg! 😉 Spanish version: Soy un gran fan de las novelas de aventuras y viajes, así que no podría dejar de recomendar este maravilloso libro de Julio Verne. Después de leerlo seguro que os entran una ganas enormes de hacer un gran viaje o tomaron un año sa I’m a big fan of adventure and travel novels, so I couldn’t stop recommending this wonderful and famous book by Jules Verne.

After reading it, I’m sure you will want to make a great trip and took a year off to follow in the footsteps of Phileas Fogg! 😉 Spanish version: Soy un gran fan de las novelas de aventuras y viajes, así que no podría dejar de recomendar este maravilloso libro de Julio Verne. Después de leerlo seguro que os entran una ganas enormes de hacer un gran viaje o tomaron un año sabático para seguir los pasos de Phileas Fogg! 😉 James Lafayette Tivendale Nov 29, 2016 “Truly, would you not for less than that make a tour around the world?” This is the second Verne book I have devoured in two days which have both been accredited five stars. I could end the review at that and I would be content! Similar to The Journey to the Centre of the Earth which I read yesterday – Verne creates amazingly awesome and complex characters. The main protagonist Mr.

Fogg is an obsessive-compulsive routine loving timekeeper who bets his chums at the club that he can travel around th “Truly, would you not for less than that make a tour around the world?” This is the second Verne book I have devoured in two days which have both been accredited five stars. I could end the review at that and I would be content! Similar to The Journey to the Centre of the Earth which I read yesterday – Verne creates amazingly awesome and complex characters. The main protagonist Mr. Fogg is an obsessive-compulsive routine loving timekeeper who bets his chums at the club that he can travel around the world in 80 days, which a newspaper said was possible – if no delays were incurred. He is so deep, that so much is beneath the surface of this quiet, content gentleman. Never fearing or worrying whatever dilemmas are thrown in his path and always willing to fail the mission to help his friends. He is also very good at handling a boat. I have to ask – does anyone know if he has been in any of Verne’s previous stories as it seems like he has an amazing past.

If he hasn’t been present and that is just what is built up by the writing in this book I am speechless. His trusty French manservant is amazing too – Not for a long time have two characters been so three dimensional and have I truly cared about them so much in 200 or so pages. This dude is clever, he worries like he is always ruining the plan but he is very loyal, apt gymnast and sometimes a lifesaver. Other characters Fix (a stalking policeman) and Aouda (a rescued Indian damsel) are amazingly created colourful characters too. I don’t want to say too much of the story but it takes places all over the world. London, China, India, Japan, HK, America, Liverpool amongst others. Full of amazing set pieces that whilst being gripping always bring a smile to your face. Traveling on an elephant to rescue a lady due to be burnt to the death, fighting bandits on railway lines in the US are just a couple of these many amazing incidents. I was expecting a scene with a hot air balloon which I see in all the film version advertisements which (spoiler) is not in the book.

I do think that later I am going to watch the Steve Coogan /Jackie Chan version of this to see how it compares. Once again my Goodreads friends, this was free on Kindle/Amazon. Check it out. Love as always. James x The Crime Fighters by W.O.G. Lofts and Derek Adley Wilson Fane was one of the many detectives who appeared in Clues Ltd in Merry & Bright. Octavius Fanks He was another of Fergus Humes creations, appearing in Monsieur Judas (1891), The Chinese Jar (1893; published in the U.S. as The Secret of the Chinese Jar) and The Carbuncle Clue (1896). He was an expert detective at Scotland Yard who followed his profession as one who was particularly adapted to it by nature. He came from a good family, and actually led a double existence, for, unwilling to cut himself off from the station of life to which he was entitled by virtue of birth, he became known in clubland as Octavius Rixton, idler and man about town. Not a soul ever guessed that the two characters were the same.

Professor Kate Fansler Kate Fansler, Professor of English Literature at a large metropolitan university, was an avid reader of detective stories. She appeared in a series of novels by Amanda Cross, beginning with In the Last Analysis (1964). John Farrel. See: Calvin Saunders. Peter Farrell Hal Wilton, otherwise Frank S. Pepper, wrote short weekly episodes about private detective Peter Farrell for the boys paper Triumph prior to WWII. Farrell was famed for his unusual methods. He employed a solemn-faced valet named Jelks, who also acted as his assistant and who despite his slim and gentle appearance was as tough as nails. Farringdon Farringdon, the super sleuth, appeared in the short-lived Jacks Paper in the early twenties. His rooms and home were at an old-fashioned house in Grosvenor Gardensquite a dignified place, not far from Buckingham Palace. Farringdons claim to fame was that he had never lost a case, though few fictional characters ever did so. The stories were credited to Jack Wylde (almost certainly a pseudonym) and also featured Farringdons friend, dapper little Inspector Caird.

Inspector Faske In 1885 Major Arthur Griffiths published a novel entitled Fast and Loose that introduced Inspector Faske of the Criminal Investigation Department of Scotland Yard. Faske walked with a soft, stealthy air, as of a cat about to make a spring, with always a feline glitter in his blue-green eyes. His grey mustachios, brushed out straight, might have belonged to a veteran mouser accustomed to pounce promptly on its prey, and his bushy white eyebrows and very white teeth reinforced the impression. He always wore his hat loosely on his head, so that it rocked from side to side when he walked. Fenlock Fawn Described as Americas foremost investigator, this tall detective from New York was featured with Sexton Blake in several Union Jack stories. The creator and author of the first stories such as The Rival Detectives (1907), The Yellow Cord (1909) and Sexton BlakeBandsman was William Murray Graydon.

Later another author, John Bobin, continued with the character in The Commerce Destroyer (1914) and The Case of the Cinema Star (1916). Graydon also featured him in the Sexton Blake Library in 1917. The F.B.I. A top American television show, the F.B.I. featured real life stories with fictitious names and places (not an original idea but a fairly popular one). The key character was Inspector Lewis (Lou) Erskine, portrayed by Efrem Zimbalist Jr., who was selected and greatly approved for the role by J. Edgar Hoover. Erskine was a handsome, middle-aged detective, a determined mantracker, and like his contemporaries a very handy gunslinger. A large number of writers, including Gerald Sanforth, supplied the stories. Captain Jim Featherstone Commissioner Captain James Lamotte Featherstone of Scotland Yard, head of H Bureau, was an immaculate, good-looking young man, who at thirty was older than his pink, boyish face suggested. This son of an attaché of the British Embassy in Washington appeared in The Green Archer (1923) by Edgar Wallace. Dr.

Gideon Fell This erudite sleuth, with his twenty-stone vast bulk, was from the pen of John Dickson Carr and appeared in a number of novels including The Arabian Nights Murder (1936), The Sleeping Sphinx (1947), In Spite of Thunder (1960) and Panic in Box C (1966). Dr. Fell had a red face, a big mop of grey streaked hair, several chins, and small eyes that always seemed to twinkle behind eyeglasses on a broad black ribbon. He was a cigar smoker and normally carried a cane. Chief Fellows Chief Fred C. Fellows of the Stockford, Connecticut Police was a wry character with a nice line in apt anecdotes. He was also a mild, brave, peaceable and intelligent chap, and Hillary Waugh featured him in Sleep Long, My Love (1959), Road Block (1960), Death and Circumstance (1963), and other novels. Professor Gervase Fen Gervase Fen, an amateur detective, was the Professor of English Languages and Literature in the University of Oxford.

He was created by Edmund Crispin and featured in such novels as The Moving Toyshop (1946) and Buried for Pleasure (1948). Fen was a tall lean man with a ruddy and clean-shaven face, and with brown hair which stood up mutinously in spikes at the crown of his head. Dave Fenner Dave Fenner, private investigator, and secretary Paula Dolan first appeared in James Hadley Chases famous No Orchids for Miss Blandish (1939), in which they assisted Chief of Police Charles Brennan in the case of the kidnapping of the notorious Miss Blandish. Fenner later starred in Twelve Chinks and a Woman (1940; published in the U.S. in 1950 as Twelve Chinamen and a Woman and also published as The Dolls Bad News) but not the Miss Blandish sequel, The Flesh of the Orchid (1948). Clive Fenton Fenton was one of the detectives that belonged to The Sleuth Club, known as Clues Ltd, in Merry & Bright. Dr.

Leslie Ferguson Leslie Ferguson, the doctor detective, was featured in Clues Ltd in Merry & Bright. Bill Fern. See: Chief Inspector Dennis Quil. Frank Ferrars Frank Ferrars, a private detective operating in Chicago, was a product of Victorian author Lawrence L. Lynch, who featured him in Shadowed by Three (1879) and The Last Stroke (1896). Ferrars was a man of medium height and square English build who, when he found an unusual case, cared for no others and seldom slept until he had thought out some plan of action, adopted some theory, evolved a possibilityor, as he whimsically termed it, developed a stepping stone toward clearer knowledge. Mr. Ferrett. See: Allan Jeffrey. Frank Ferrett Frank Ferrett is recorded as saying that he started business as a private detective simply and solely because he could not afford big game shooting. As a born hunter he therefore decided to do the next best thing and track down men for profit. He was a tall spare man just over six feet, with a closely cropped head of hair and a rather ragged moustache which barely concealed an old scar, a relic of a knife stab.

Ferrett had shrewd eyes with a comical twinkle and a rare but infectious grin. His loose, baggy, and very much worn out shooting jacket concealed a ripple of firm shoulder muscles whenever he moved. He had a snug little office on the third floor of an old house in Adelphi Street in the Strand, London. He was featured in a story in the Union Jack in 1904, Frank Ferrett, Detective. The author was wrongly given as Cecil Hayter but other tales which featured the same detective in the Marvel and Detective Library were correctly credited to Alec G. Pearson. Martin Fetter Martin Motley Fetter, aged about thirty, was a man of medium height and magnificent physique. His face was clear cut and powerful, with thin lips. His body was hairless, his skin pink and smooth as unblemished satin, under which great muscles writhed like live snakes at every movement. He was in fact a California billionaire whose wife and child had been murdered by a gang of criminals. On that day he swore he would become the most dreaded detective the world had ever known.

He studied every aspect of crime, and spent a month at nearly every job imaginable: car conductor, janitor, cowboy, actor, pianist, dustman, tramp, chauffeur. He did this to obtain insight into the ways and lives of people. He had an assistant named Frank Storm, a queer specimen of humanity who was only a boy in years but whose ferret-like face had the preternatural sharpness of an old man. Fetter had rooms in Baker Street, London, not far from where the mythical Sherlock Holmes had made his bow to the world of fiction. Fetter was featured in Nugget Library No. 22, The Man of Dread, by Rex Arnold. Maurice P. Fielding He was another detective featured in Clues Ltd in Merry & Bright. Detective Inspector Septimus Finch Septimus Finch of New Scotland Yard was large and bland, with a look of benign disinterest. His walk was deceptively lazy and his voice was as small and soft as a womans.

Accompanied by his sergeant, Archie Slater, he appeared in all of Margaret Erskines mystery novels, including The Disappearing Bridegroom (1950; published in the U.S. as The Silver Ladies), The House of the Enchantress (1959; published in the U.S. as A Graveyard Plot) and The House in Belmont Square (1963; published in the U.S. as No. 9 Belmont Square). Ian Firth Ian Firth, private inquiry agent and tennis star, was a lean man, contrasting sharply with his round Welsh partner and assistant, John Smith. The two had served together in the police forces of Her Majestys possessions in Africa, and on release had set up their own detective agency. Since then they had struggled along, sometimes on the verge of bankruptcy, sometimes riding high and dangerously into the world of international crime. Typical novels in the series by Ludovic Peters were Tarakian (1963), Two Sets to Murder (1963) and Out by the River (1964). Horne Fisher Fisher was a young man with an aquiline profile, bald brow, and heavy eyelids.

He looked lazy and ceaselessly produced seemingly inane chatter, he claimed to know too much to really know anything, and he was regarded as the fool of the famous and titled Fisher family. Horne Fisher was a creation of G. K. Chesterton, who featured him in stories in The Man Who Knew Too Much in 1922. Dr. Fitzbrown. See: Mr. Pitt. Inspector Fix Inspector Fix played a fairly prominent part in Jules Vernes Around the World in Eighty Days, published in 1873. Fix was one of the immortal band of slightly stupid but well-meaning policemen. He was a small, spare man with a nervous face, who would contract his eyebrows with remarkable persistence. Under his long eyelashes shone very bright eyes, the brilliancy of which he could suppress at will. Fix was one of the detectives that was sent to various seaports after a robbery of the Bank of England. He was bent upon arresting Phileas Fogg for the crime, and in fact did in the end imprison him, only sheepishly to have to release him after the real criminal was apprehended.

Around the World in Eighty Days was filmed with a superb star cast, including David Niven as Fogg, Noel Coward, Frank Sinatra and Charles Boyer. Superintendent Flagg John Cassells Flagg was in turn Inspector, Chief Inspector and then Superintendent of Scotland Yard, and his assistant Sergeant Noel Newall made the progression to Inspector. Flagg was a large man, broad of shoulder and overpoweringly stout. At Scotland Yard he was something of an institution, and few could remember a time when he had not been there in his comfortable office, a cigar in his mouth and a sneer of condemnation of the world in general on his lips. His colleague Newall, alternately called Know All and Knew All, was a lean, thoughtful chap with a phenomenal memory, who in his youth had been billed as a sort of memory man. They appeared together in a large number of novels, including Case for Inspector Flagg (1954), Enter Superintendent Flagg (1959), The Brothers of Benevolence (1962) and Blackfingers (1966).

Greg Flamm He was a private detective whose first assignment was in 1962 and entitled But Not for Love, followed by others including That Feeds on Men in 1963. Flamm was styled in the Chandler tradition with plenty of hot action, hard liquor and the usual element of sex. His author was Ivor Wilson. Phil Flash Phil Flash possessed a rubber face which could be altered at will to resemble anyone, and at the same time he was able to assume the voice of his subject. He was featured in an independent series in Merry & Bright and also in their Clues Ltd. Detective Joe Fleet Detective Joseph Fleet of Scotland Yard had a pleasant face that also expressed determination. He was medium in proportions, with heavy black whiskers. His eyes were small and keen and darted in every direction, showing that he was not a man to be trifled with. Although he liked to be called Joe or Joe Fleet, the title of mister annoyed him. He was featured in Aldine Detective Tales No. 218, Detective Fleet of London. Fletcher He was a young private detective who specialized in divorce cases, though he himself was married with four children.

Fletcher was featured in A Splendid Sin by Grant Allen in 1896. Johnny Fletcher Irresponsible, light-hearted Johnny Fletcher and his partner Sam Cragg, an amusing pair of seedy book salesmen, were nearly always hard up and owing the rent or a hotel bill. They had a habit of getting involved in crime mysteries which they usually brought to a satisfactory conclusion. Frank Gruber featured the pair in The French Key (1941) and other novels. Adam Flint Detective Adam Flint, played by Paul Burke, was the central character in an American television series entitled Naked City, which was a popular show but rather a stereotype of the usual American imports. The accent was more on the physical aspects of crime than on the deduction aspects. Peter Flint Peter Flint, aided and abetted by his youthful assistant, Jack Nugget, made his debut in novel form in Peter Flint and the Skeleton Gang, published in No. 280 of the Nugget Library. Flints official police partner was the harassed Inspector Bigham, who when baffled on a case would invariably call on Flint for help.

Peter Flint had a rather outspoken manner with Bigham, as this typical dialogue shows: Youre a fool and fathead, said Peter Flint. Nature obviously intended you to be a dustman, or something in the navvy line, my dear fellow. You are absolutely incapable of connected thought. Flints assistant, Jack Nugget, differed from other youthful stooges by providing a good deal of comic relief with his screwball inventions. And although Flint regarded the Nugget inventions with a somewhat jaundiced eye at times, some were instrumental in solving a case. Flint and Nugget had a comparatively short and sweet life, and perhaps they left no mark on crime fiction, but several reasons could be given for this. The Great War finished so many periodicals and also claimed Flints creator, Stephen H. Agnew, who was a good writer. The stories were great and exciting reading, and perhaps could be thought of as part of the real blood and thunder category and tradition. Peter Flint also appeared in several comic papers in the James Henderson group, including Comic Life, but mainly in serial form. M. Flocan M.

Flocan, the Chef de la Surete, was an elderly man who lived in the Rue Desarcs not far from the Prefecture. He wore a tight frock coat and immaculate white tie, and was altogether a very precise and natty little personage. He had a quiet and unpretentious demeanour, with a mild, thoughtful face in which two small ferrety eyes blinked and twinkled behind gold-rimmed glasses. But when things went wrong, or when he had to deal with fools, or when the scent was keen or the enemy near, he would become as fierce and eager as any terrier. Flocan appeared in The Rome Express by Major Arthur Griffiths (1896). John Flood He was a river detective who appeared in The Wonder in the 1912 period. He had a suite of three rooms situated underneath a small warehouse he owned, and beneath the wharf was a stone wall with a secret door which only he knew how to open. Flood possessed a good private income and was in the position to take up any case that took his fancy. He had no connection with Scotland Yard, although the Yard often requested his services.

In appearance he was very much the sailor, with a bronzed, clean-shaven face. His companion was a black cat named Solomon, which travelled with him on his motor launch Vigilant. Adam Flute Flute joined his virtually retired Uncle Leopard as assistant private investigator to run the business from his flat, a six room affair on the top floor of Porchester Court, a block of flats in Bayswater Road, overlooking Londons Hyde Park. Flute was in his middle thirties, his hair was of an indefinite colour, and he had brown eyes. He also had a good jaw which a lot of people enjoyed hitting, and he had a fair amount of muscle here and there. He was an off-beat private eye, who usually found the glamorous side of the profession more fascinating than tedious deduction. He appeared in a half dozen novels by Droo Launey, including The New Shining White Murder in 1962. Fred Flyer Fred Flyer appeared in a story entitled The Reporter Detective in No. 51 of Aldine Tip-Top Tales. This may have been a reprint of a story of this title from America by Donald J.

McKenzie in Street & Smiths Magnet Library #119 (1899). Superintendent Folly The creation of John Creasey writing under the pen name Jeremy York. In his eating habits Folly was a glutton like Bully Bunter. He was an ever-hungry fat man, a huge person, with a long, regular, heavy-jowled face, its paleness heightened by thick black eyebrows. His head seemed to taper off to a rounded point at the top of his sleek, glistening black hair. He had a tiny mouth which seemed all the smaller because he was fat everywhere, but nowhere more so than at the waist. From there his figure tapered to small, well-shod feet. Despite his voracious appetite he was a brilliant master of deduction, and his adventures can be found in Lets Kill Uncle Lionel (1947), The Gallows Are Waiting (1949), and other novels. Solange Fontaine. See: Solange. Chief Inspector Ford Mrs.

Zenith Jones Brown, writing as David Frome, told about Chief Inspector Ford in Scotland Yard Can Wait (1933; published in England in 1934 as Thats Your Man, Inspector). It is interesting to note that for her detective she used the name of the man she married in 1918Ford K. Brown. Brad Ford Ford was a British private eye who, throughout his adventures, strived hard to equal Philip Marlowes biting wit, and at times nearly made it. I always find the taste of blood revolting, especially when its mine, quips Ford. His background was that of being a wartime intelligence agent. Hank Hobson was his creator, and he appeared in five novels including The Big Twist and The Mission House Murder, both in 1959. Kenyon Ford Maxwell Scott, the creator of Kenyon Ford, also created the more famous Nelson Lee, and chose to mould his new hero as a near replica of Lee. When W. M. Maas, a former Harmsworth editor, joined the firm of C. Arthur Pearson Ltd.

he wrote to Scott indicating that he was bringing out a new boys paper to be called The Big Budget and was especially anxious that he (Scott) should invent another detective character along the lines of the popular Nelson Lee. Scott therefore produced Kenyon Ford, the up-to-date detective, and from June 19th to December 23rd, 1897, six stories featuring this wonderful hero were published. Kenyon Ford was later to appear in The Boys Friend Library No. 416, The Seven Stars, in which he strangely was now back with the firm whose Nelson Lee he had set out to rival. Simon Forsyth Forsyth was a detective who was introduced in Clues Ltd in Merry & Bright. Dr. Reginald Fortune H(enry) C(hristopher) Bailey, who created this very famous and popular character and featured him in a fair selection of novels and short stories, provided few intimate details about his sleuth. We are able to learn that Fortune was plump and had a decidedly prosperous appearance. He was a Home Office medical expert and normally became involved in his cases through his contact and friendship with Lomas of the C.I.D.

He first appeared in Call Mr. Fortune in 1920. Temple Fortune This private investigator was tall, with the broad shoulders and slender waist of an athlete. His dark brown hair was going slightly grey at the temples, adding distinction to his appearance and matching the grey of his bold eyes. Tough and ruthless and formerly a star agent of M.I.5, he had offices in New Square, London, and was a member of the Legal and Medical Club. His method was to write out all the known evidence on foolscap before deciding what action to take. T. C. H. Jacobs, otherwise Jacques Pendower, featured Temple Fortune in over 20 novels, including Murder Market in 1962. Andrew Foster The first issue of the Halfpenny Surprise in 1894 featured Andrew Foster in an anonymous story entitled Who Killed Trueman. Foster was a special detective employed by a firm of solicitors. He was a good looking man of about forty, with a pair of keen steely eyes and a firm resolute mouth which denoted grim determination. The Four Adjusters. See: Daphne Wrayne.

The Four Just Men These were probably the best known of Edgar Wallaces crime fighters, but the name is something of a misnomer because for the greater part of their career they numbered only three, George Manfred, Leon Gonsalez and Raymond Poiccart. The fourth man, Thery, or Saimont, appeared in the first book and was enlisted purely for the job of destroying an evil politician. Thery, a very ugly man with bat-shaped ears, fat cheeks, shaggy eyebrows and a white scar on his chin, bungled a device intended to kill his objective and was instead himself killed. From then on, while mention was made of his name, the organization was in fact The Three Just Men. George Manfred, the appointed leader, was known in London as Senor Fuentes, an eminent writer on criminology who had made his home in Spain for many years. He was a tall handsome man with the face of a politician and the shoulder of an athlete, and he was always extremely well dressed. Leon Gonsalez, a Spaniard, was a thin faced, eager man with big shell-rimmed glasses. The third member, Raymond Poiccart, was rather stout and somewhat saturnine.

He was a gentleman who seldom left his garden in Cordobo. In their early days they waged war against great world war criminals and evil politicians; they pitted their strength, their cunning, and their wonderful intellects against the most powerful organisations of the underworld, and dealt death to the breakers of the unwritten laws. In later stories we find Manfred living in a small house in Curzon Street, operating the Triangle Detective Agency, with Poiccart assuming the pretence as his butler and Gonsalez as his chauffeur. Prior to this Manfred had declared, No, we are not detectiveswe are interested in crime. I think we have the best and most thorough record of the unconvicted class of any in the world. This was before the setting up of the Triangle Detective Agency, and whereas they had previously been spoken of as a criminal organization and rewards were offered for their arrest, now they had become a respectable institution, an exclusive detective agency.

Books of their adventures include The Four Just Men (1905), The Council of Justice (1908), The Just Men of Cordova (1917), The Law of the Four Just Men (1921; published in the U.S. in 1933 as Again the Three Just Men), The Three Just Men (1925) and Again the Three Just Men (1928; published in the U.S. in 1931 as The Law of the Three Just Men). In the late 1950s a fairly entertaining television series appeared, based loosely on the Four Just Men. It starred Jack Hawkins, Richard Conte, Victoria Desica, and other well known stars. Farrel Fox He was a detective from the pages of Aldine Tip Top Tales, a man of many faces also known as Farrel the Fox. Gordon Fox William Murray Graydon, author of a great many Sexton Blake yarns, created Gordon Fox and featured him in a novel entitled Gordon Fox, Detective in Boys Friend Library No. 81 in 1909.

Fox also appeared in many other Amalgamated Press boys papers, including Dreadnought, Boys Herald, and Detective Library. Nick Fox Nick Fox appeared in Aldine Detective Tales No. 31, entitled The Demon Detective. Tecumseh Fox This detective was about thirty-seven years of age and came from the pen of Rex Stout, the creator of Nero Wolfe. Foxs name was apt, for at first sight he seemed to walk like a fox, with quick light steps, and he had a slightly pointed face and brown eyes. He never achieved the same fame as his authors other detective, but still was an interesting character. He appeared in several novels including Double for Death (1939). Detective Inspector Andrew Frampton Frampton and his shadow, Sergeant Frank Arnold, appeared in some 50 novels by T. Arthur Plummer. Frampton was a man of medium height and slight build, with a face that would have gone unnoticed anywhere in a crowduntil he smiled. It wasnt the smile itself that changed him, but it brought into prominence a pair of astounding blue eyes.

Ken Franklin Independent Television screened a series in the early sixties entitled International Detective. Arthur Fleming starred as Ken Franklin of the Burns Detective Agency, with the stories based on true events from the files of the worlds largest detective agency. Miss Arabella Frant Diana Fearons Arabella Frant was an artist, five foot nothing and stocky. She had pep and punch, a lively taste in clothes, and a cheerful cocky face, round and pink and adorned with large circular dark-rimmed glasses. Her close-cropped grey-brown hair stood straight on end all over her head. She appeared in such books as Murder-on-Thames (1960). Around The World In Eighty Days | Clar Sisk Around The World In Eighty Days Around the World in 80 Days (1956 film) From Wikipedia, the free encyclopedia This article is about the 1956 film. For the 1873 novel by Jules Verne or other uses, see Around the World in 80 Days (disambiguation) .

Around the World in 80 Days $42 million [2] Around the World in 80 Days (sometimes spelled as Around the World in Eighty Days) is a 1956 Technicolor epic action adventure comedy film starring David Niven and Cantinflas , produced by the Michael Todd Company and released by United Artists . The film won five Academy Awards , including Best Picture . [3] Contents 10 External links Plot Broadcast journalist Edward R. Murrow presents an onscreen prologue, featuring footage from A Trip to the Moon (1902) by Georges Méliès , explaining that it is based loosely on the book From the Earth to the Moon by Jules Verne . [4] Also included 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 (around to £1.6 million today [5] ) with four sceptical fellow members of the Reform Club (each contributing £5,000 to the bet), that he can arrive back within 80 days before exactly 8:45 pm. Together with his resourceful valet, Passepartout ( Cantinflas ), Fogg sets out on his journey from Paris by hot air balloon . Meanwhile, suspicion grows that Fogg has stolen £55,000 (around £4.4 million today [5] ) 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 arrival at Liverpool, 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 no time to get to London and has thus lost everything — except the love of the winsome Aouda. Salvation is at hand when Passepartout buys a newspaper and sees it is still Saturday. Fogg remembers 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. Fogg unexpectedly arrives at the club just before the clock’s chime at 8:45 pm. Aouda and Passepartout then arrive, surprising everyone as no woman has entered the Reform Club before. Cast The film boasts a huge cast , with David Niven and 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, and winds up as 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 Picaporte”. There is also a comic bullfighting sequence especially created for Cantinflas that is not in the novel. [6] Indeed, when the film was released in non-English speaking nations, Cantinflas was billed as the lead. [6] According to the guidebook, 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 . The film was significant as the first of the so-called Hollywood “make work” films, employing dozens of faded film personalities.[ citation needed ] John Wayne turned down Todd’s offer for the role of the Colonel leading the Cavalry charge, [7] a role filled by Colonel 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!” [8] Shirley MacLaine and Glynis Johns are the last surviving members of the entire cast. Cast A. E.

Matthews as a Reform Club member Ronald Adam as a Reform Club steward Walter Fitzgerald as a Reform Club member Frank Royde as a clergyman Mike Mazurki as a Hong Kong drunk (uncredited) Richard Wattis as Inspector Hunter of Scotland Yard (uncredited) Keye Luke as an old man at Yokohama travel office (uncredited) Felix Felton as a Reform Club member (uncredited) Production This section needs additional citations for verification . Please help improve this article by adding citations to reliable sources . Unsourced material may be challenged and removed. (October 2012) Michael Todd, Michael Anderson, and Frank Sinatra on set Around the World in 80 Days was produced by Michael Todd, a Broadway showman who had never before produced a movie. [1] 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.

[9] In the autobiographical book The Moon’s a Balloon , published in 1972, the actor David Niven discussed his meeting with Todd and the subsequent events that led to the film being produced. According to Niven, when Todd asked him if he would appear as Fogg, Niven enthusiastically replied, ‘I’d do it for nothing!’ He later admitted to being grateful that Todd did not hold him to his claim. He also described the first meeting between Todd and Robert Newton (who suffered from drinking problems) when the latter was offered the role of the detective, Fix; Niven alleged that Newton was offered the part on condition that he did not drink any alcohol during the filming, and that his celebration following the completion of his role led to his untimely demise (he did not live to see the film released).

Filming took place in late 1955, from August 9 to December 20.[ citation needed ] The crew worked fast (75 actual days of filming), producing 680,000 feet (210,000 m) of film, which was edited down to 25,734 feet (7,844 m) of finished film. The picture cost just under $6 million to make,[ citation needed ] employing 112 locations in 13 countries and 140 sets.

[1] Todd said he and the crew visited every country portrayed in the picture, including England, France, India, Spain, Thailand and Japan.[ citation needed ] According to the Time magazine review of the film, [1] the cast including extras totalled 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.” There is also a cat, at the Reform Club. The wardrobe department spent $410,000 to provide 74,685 costumes and 36,092 trinkets. [1] The main square of Chinchón arranged as a bullring Some 10,000 extras were used in filming the bullfight scene in Spain,[ citation needed ] with Cantinflas as the matador; Cantinflas had previously done some bullfighting.

They used all 6,500 residents of a small Spanish town called Chinchón , 45 kilometres (28 mi) 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.[ citation needed ] Todd used about 50 US gallons (190 l; 42 imp gal) of orange-coloured 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 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. The scenes of the crossing of the Atlantic Ocean by steamship took place off San Francisco and were shot on a specially built prop steamer, a converted barge mocked up to resemble a small ocean-going steamship, with mock paddles driven by the electric motor from an old streetcar. In his memoirs, Niven described the whole thing as being dangerously unstable (though stability improved as it was dismantled as though to feed it into its own furnaces as the plot required). One of the most famous sequences in the film, the flight by hydrogen 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 hydrogen balloon. [10] Many of the balloon scenes with Niven and Cantinflas were filmed using a 160-foot (49 m) 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. In his memoirs, Niven related that Todd completed filming whilst in considerable debt. The post-production work on the film was an exercise in holding off Todd’s creditors long enough to produce a saleable movie, and the footage was worked upon under the supervision of Todd’s creditors and returned to a secure vault each night, as if it were in escrow . The film’s release and subsequent success vindicated Todd’s considerable efforts. Release The film premiered on October 17, 1956 at the Rivoli Theater in New York City.

[11] By the time of Todd’s accidental death 18 months later, it had grossed $33 million. [9] In Spanish and Latin American posters and programs of the movie, Cantinflas is billed above the other players because he was very popular in Spanish-speaking countries. [6] There were two souvenir programs sold in theatres. For Roadshow screenings Todd-AO is mentioned, though for general release those pages are not contained in the book.[ citation needed ] 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 Critical response 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 turned loose in a cosmic cutting-room, with a pipe organ in one corner and all the movies ever made to toss around.” [11] 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.” [1] Review aggregation website Rotten Tomatoes retrospectively collected 33 reviews and gave the film an aggregate score of 73%, with a rating average of 6/10, with the site’s consensus stating: “It’s undeniably shallow, but its cheerful lack of pretense — as well as its grand scale and star-stuffed cast — help make Around the World in 80 Days charmingly light-hearted entertainment.” [12] The development of the film and the personal life of actor Mario Moreno during that time were dramatized later in the 2014 film, Cantinflas . [13] Accolades Todd claimed that the film won 70 to 80 awards,[ citation needed ] including five Academy awards. Academy Awards 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. [15] Anniversary celebration CBS paid Mike Todd for the rights to cover the anniversary celebration as a television special. [16] Todd and Taylor are seen here at home in a film clip which was used for the television special. 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.” [9] Distribution and ownership This section does not cite any references or sources . Please help improve this section by adding citations to reliable sources . Unsourced material may be challenged and removed . (October 2010) 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 theatre 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 labelled 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 into 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 theatres 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 theatre 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 , who was the widow of producer Michael Todd and 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. Share this:

Question: In which 1873 novel is the chief character pursued by a Scotland Yard detective, called Inspector Fix?
Answer: Around the World in Eighty Days