He's talking about Carry On... Don't Lose Your Head, and the review by ChrisNo1...
One scene in it is among the most sadistic in all movies, even Dalton's Bond in LTK would baulk at such a stitch-up... when Sid's aristocrat tricks Williams' Camembert into testing out the guillotine on one of his own men, who only dimly realises the reality of his situation as the blade begins to fall...
Tom Hardy (not My Man Thomas Hardy)'s latest, HAVOC, which is streaming on Netflix. It's been getting a lot of good notice for its fast pace and action choreography... true, it's very watchable, but it's also like eating a dozen doughnuts. You may enjoy it, but it's a totally empty experience and ultimately it might be bad for you. If watching people get shot up like Swiss cheese is your thing, go for it.
I liked it but the reliance on CGI with a lot of the car chases and with the blood splatters really stood out...to the movie's detriment. The script also needed a polish.
If you watched GANGS OF LONDON, Gareth Evans handled much of the great action in Season 1. The big lakehouse shootout in episode 5 or 6 was exemplary and felt real. I was hoping for more of that with HAVOC vs the somewhat cartoony action that we got.
Evans is legit, though. THE RAID: REDEMPTION and THE RAID 2 are both fantastic action movies and I still think that he'd be a great choice for Bond if allowed to present things in a realistic fashion.
And because we're talking about Gareth Evans, I must present the big kitchen fight from THE RAID 2 as an example of how well he can shoot fight action. As a warning, this is incredibly violent and gets very bloody.
I watched this at the weekend too…dreadful…Tom Hardy must have lost a bet or owe someone money to have been the lead in this…awful script - written on the back of a fag packet springs to mind 🫣 and, as @HarryCanyon says - the CGI is too much and stands out, for all the wrong reasons…Gareth Evans is better than this…and it’s not just about ‘action’ and how it’s filmed…some people actually like a decent storyline too…go figure 🤯😁
I must concur on the script. It was trying to be clever but it was a tad too 'try hard' and was missing a lot of narrative story beats to make the story cohesive. Evans is much better than this.
Sir MilesThe Wrong Side Of The WardrobePosts: 30,877Chief of Staff
edited May 2025
Went to see this last night…
About their time in New York from 1971-73…and the One to One concert…
Not quite the documentary I expected, but enjoyable…it helps if you know about Jerry Rubin, Allen Ginsberg, John Sinclair, AJ Weberman, Attica State, etc…the documentary is interspersed with tv commercials - as John & Yoko spent lots of time watching tv.
What I didn’t realise is that the One to One concert was for a children’s home - Willowbrook Institution in Staten Island.
There is one bit where Yoko is talking to a journalist and complaining that Paul, George & Ringo never comment about her, when she’s said they are beautiful and talented people 🤔 err yea, I’ve heard PLENTY of what George thought about her 👀 She comes across as very manipulative…
As usual, more John and less Yoko would have been better…😁
It's said during the Let It Be sessions, John was so furious at what George said to Yoko, he could have hit him but just sat there, probably zoned out. That all said, it was George who played on the Imagine album, inc the jokey dig at Paul, How Do You Sleep? before going off John a bit after he didn't bother to turn up at some charity concert George put on, branding Lennon a narcissist or something. Later he didn't bother to mention John much in his odd memoir, which pissed Lennon off.
That all said, I think George was barely 30 at that point so... Never one to sugar coat things though.
He said plenty 🤣 According to John, George was straight up rude to her from day 1. To her face.
He was particularly annoyed with her later on as she had a bed brought into the studio as they recorded Abbey Road 👀 John and her had been in a car accident…anyway, during a break - when everyone else was out of the room - Yoko got out of bed and started eating George’s biscuits 🫣
John wasn’t ever engaged when George wanted to record his music - he very often didn’t turn up at all…I think George played on John’s solo work because he was more p*ssed off with Paul…he felt Paul always treated him like a little kid.
How Do You Sleep?
Not a “jokey dig” at all…although it’s said Allen Klein came up with the worst insults on that record…and probably why Lennon used the tune again for Steel and Glass - his attack on Klein.
Here we go again – classic or not? Do we like the word ‘classic’? High Noon has a reputation that precedes any viewing these days.
I could pander on about the real-time action, the brilliant performance from Gary Cooper, the un-American behaviour of the townspeople who refuse to assist law and order when it is palpably threatened, Garce Kelly’s Quaker beauty, Katy Jurado’s Mexican lower caste who makes more money than anyone yet is as despised as a pseudo-whore, Lee Van Cleef in his movie debut, the marvellous gunfight, the excellent screenplay from Carl Foreman that binds conflicted morality alongside collapsing justice, the humming theme song, the noirish photography, Fred Zinneman’s strong controlled direction, the bitter final scene – anything else?
Well, High Noon is phenomenally influential. It keeps one watching throughout its swift runtime and it has a raft of decent eye-catching performances. The dialogue crackles with intent. The slimy hotelier who dislikes Marshal Will Kane [Cooper] because he’s cleaned up the town and now his business renting rooms for prostitutes has collapsed was a particular joy. Watching the film for the first time in many, many years, I was surprised how many scenes and sequences Sergio Leone nicked for his spaghetti westerns. He was a sly old dog, that Sergio.
Yeh, definitely a classic. No need to say any more. Brilliant.
A latter day Billy Wilder that lacks both wit and bite, the ingredients that poured sugar on his confections of success of the forties, fifties and sixties. Wilder didn’t always make comedies and some of those were spectacularly dark, but there is an uncertain tone to Fedora which first intrigues, then dulls and finally leaves one baffled as to the whole point of the enterprise. Basically, director and writer I.A.L. Diamond are revisiting Sunset Boulevard territory by uncovering the life story of a reclusive film star, this time the beautiful Polish emigree Fedora. William Holden returns, only he isn’t dead as in Sunset Blvd, the movie star is. I was reminded too of Mike Hodges cynical winner Pulp starring Michael Caine and Mickey Rooney that also encompassed dark secrets behind a façade of pretention and mystery.
Holden’s movie producer seeks out the one time star at her villa on Corfu and discovers she is being home treated by a shady plastic surgeon and doctor [Jose Ferrer] and monitored day and night by a Polish Countess, stuck in a wheel chair but deadly with a walking stick. The set up doesn’t reveal any sense of humour on anybody’s part. The film is limp in wit. It passes muster as a cynical deconstruction and reconstruction of fame and fortune and the perils that come with it, but the plot is about as obvious as the reflection on one of the 63 mirrors Fedora symbolically smashes at her Greek hideaway.
Marthe Keller is uninspired as the tragic heroine; Holden just feels too old for this kind of turn. Although chronologically he needed to be this approximate age, his character feels written for a younger actor. His lack of anger is noticeable. The lack of a romantic plot is equally conspicuous. The whole episode is a bit tawdry and turgid, not words I would usually apply to a Billy Wilder movie. He name checks Harlow and Monroe in the script, so you have a feeling the story of Fedora is not going to end well.
The rainy Corfu landscapes reminded me of the opening salvos of Kazantzakis’s Zorba the Greek. Cameos from Henry Fonda and Michael York prove diverting but insubstantial. The best scene is when Holden attempts to persuade Ferrer to deliver his script to the once-famous star. Two aging stars themselves, they deliver the consummate goods with all the understated fire and ice you’d expect. The best lines are given to the jolly Greek hotelier. Like the rain, and despite lashings of cynicism, Fedora isn’t up to much.
Arnold Schwartzeneggar stars as John Matrix, an ex-Special Ops colonel whose daughter is kidnapped by an ex-dictator. He’s got previous with Matrix, as does the wingman, a crazy ex-Special Ops himself. Blood, thunder and explosions galore. Ridiculous from start to finish. Curiously enjoyable. Dead pan humour just about reminds us the thing is violent comic book hokum, although the body count is truly enormous. The star remains almost unscathed. A film not made for quality only quantity. There are more stunt men than cast members, it is that sort of product. I watched it all with a hazy grin, remembering how me and some mates hired the movie from the video store despite not being old enough and thought it was a real blast. It isn’t that, but it is of its time and kind, and you can’t fault the result of the effort put in. A young Alyssa Milano plays Arnie’s daughter. The screenwriter was Steven E. de Souza who would go on to pen Die Hard. Somehow, it works, just don’t ask how.
Terence Fisher does his workmanlike best to enliven this Robin Hood adventure from Hammer, the studio that usually brought us Dracula, Frankenstein or The Mummy. Here they dive into television spinoff territory. Star Richard Greene had made the part of Robin Hood his own thanks to ITV’s long running adventure series; he produces alongside original TV producer Sidney Cole. Filmed in Ireland, the sets and scenery are far more realistic than they ever were on the telly. The script is probably about the same low level standard. Peter Cushing is capably despicable as the Sherrif of Nottingham. There’s an early villainous supporting role for Oliver Reed. It’s all a bit tame really. Even Sarah Branch’s Maid Marion taking a nude swim is about as chaste as you can get. Her light shone bright for a few months before she retired to raise a family. Overall, I wasn’t disappointed, neither was I very enthralled.
This is the newest version of the famous WWI anti-war story. Hitler outlawed both the novel and the 1930 film version, a feather in the cap to the story. It's about a group of idealistic German students who enter the brutal trench war at the ed of WWI. it's a very powerful story, and it's told very well. The combat scenes are intense and brutal. But the movie also shows the friendships and fellowship of the soldiers in a nice way, something I appreciate. The movie also focuses on the industrial aspect of the war. The opening shows a soldier getting killed during an attack. then we see how he is buried in a mass grave, his uniform is washed among many others and the bullet holes are repaired by seamstresses in a factory before it gets issued to new recruits.
What i didn't like that much was how some of the combat scenes sometimes are too exhilarating, making it feel more like an action movie. Some scenes are changed from the book. We see the generals and politicians at work too, something we didn't get in the novel.
It works pretty well, but it's less successful than the changed ending.
Edward Berger has been mentioned as the director of Bond26. He handles both the big combat scenes and the personal and quiet scenes between the soldiers equally well, so I'd be all for it if this happens. the cinematography is stunning. There is no romance and next to no humor in this movie, but that comes with the territory this time. I haven't seen Berger's "Conclave" yet, but I will as soon as I get the chance.
Sir MilesThe Wrong Side Of The WardrobePosts: 30,877Chief of Staff
It was titled All Quiet on the Western Front here…I’ve not read the book so can’t compare…I thought it was excellent, and treated the subject in a mature and respectful way…Conclave is excellent as well…I’m sure you will enjoy it when you do get to see it 🍸
You're right, the English title is "All quiet ...". The Norwegian and German title is "No news ...." so subconsciously I must've translated it directly. I'll change it in my post.
Even though I haven't seen conclave yet I think "All quiet on the western front" and "Conclave" are very good qualifications for directing Bond. The first is full of spectacle, action, big sett pieces and grittiness. The second I expect to be a very tense thriller-drama in very luxurious locations. What I do miss is women on screen.
Sir MilesThe Wrong Side Of The WardrobePosts: 30,877Chief of Staff
On that subject, I watched this last night and my main thought was "It's "All Quiet On The Western Front" with horses. Spielberg handles the big battle scenes with aplomb as one would expect and also gets overly sentimental at times, again as one expects from him by now. The horse is ably supported by Emily Watson (wonderful actor, always brings a part to life), Benedict Cumberbatch, Tom Hiddleston, and many more.
The most advanced US Navy submarine 'Seaview', designed and commanded by Admiral Harriman Nelson, on a special mission to the Artic ascends to confront a dangerous new reality.
The Van Allen radiation belt surrounding the earth is now filled with extremely hot meteors that are slowly raising the Earth's temperature.
Admiral Nelson estimates only a matter of days before the Earth is cooked.
As one of Earth's most brilliant scientists, Admiral Nelson proposes an ingenious method to knock out this layer of meteors.
On this perilous mission, many dangers confront the submarine crew.
Will Admiral Nelson succeed...? Will Seaview save the day...?
I guess the only way to know is to watch this wonderful film.
Directed by Irwin Allen and running at 105 minutes, 'Voyage to the Bottom of the Sea' is a terrific science-fiction film.
Anyone yet to see the latest Mission Impossible in the cinemas, UK residents may be interested to learn that the latest instalment (Part 1 of Final Reckoning I think it's called) is on Channel 4 tonight (Sat), its TV premiere so it may help as a primer for the one in cinemas now.
Comments
I tend to forget about this one, but I’m going to have to see it again soon after reading the review!
He's talking about Carry On... Don't Lose Your Head, and the review by ChrisNo1...
One scene in it is among the most sadistic in all movies, even Dalton's Bond in LTK would baulk at such a stitch-up... when Sid's aristocrat tricks Williams' Camembert into testing out the guillotine on one of his own men, who only dimly realises the reality of his situation as the blade begins to fall...
Roger Moore 1927-2017
KRAVEN THE HUNTER.
Don't.
Tom Hardy (not My Man Thomas Hardy)'s latest, HAVOC, which is streaming on Netflix. It's been getting a lot of good notice for its fast pace and action choreography... true, it's very watchable, but it's also like eating a dozen doughnuts. You may enjoy it, but it's a totally empty experience and ultimately it might be bad for you. If watching people get shot up like Swiss cheese is your thing, go for it.
I liked it but the reliance on CGI with a lot of the car chases and with the blood splatters really stood out...to the movie's detriment. The script also needed a polish.
If you watched GANGS OF LONDON, Gareth Evans handled much of the great action in Season 1. The big lakehouse shootout in episode 5 or 6 was exemplary and felt real. I was hoping for more of that with HAVOC vs the somewhat cartoony action that we got.
Evans is legit, though. THE RAID: REDEMPTION and THE RAID 2 are both fantastic action movies and I still think that he'd be a great choice for Bond if allowed to present things in a realistic fashion.
And because we're talking about Gareth Evans, I must present the big kitchen fight from THE RAID 2 as an example of how well he can shoot fight action. As a warning, this is incredibly violent and gets very bloody.
I watched this at the weekend too…dreadful…Tom Hardy must have lost a bet or owe someone money to have been the lead in this…awful script - written on the back of a fag packet springs to mind 🫣 and, as @HarryCanyon says - the CGI is too much and stands out, for all the wrong reasons…Gareth Evans is better than this…and it’s not just about ‘action’ and how it’s filmed…some people actually like a decent storyline too…go figure 🤯😁
I must concur on the script. It was trying to be clever but it was a tad too 'try hard' and was missing a lot of narrative story beats to make the story cohesive. Evans is much better than this.
Went to see this last night…
About their time in New York from 1971-73…and the One to One concert…
Not quite the documentary I expected, but enjoyable…it helps if you know about Jerry Rubin, Allen Ginsberg, John Sinclair, AJ Weberman, Attica State, etc…the documentary is interspersed with tv commercials - as John & Yoko spent lots of time watching tv.
What I didn’t realise is that the One to One concert was for a children’s home - Willowbrook Institution in Staten Island.
There is one bit where Yoko is talking to a journalist and complaining that Paul, George & Ringo never comment about her, when she’s said they are beautiful and talented people 🤔 err yea, I’ve heard PLENTY of what George thought about her 👀 She comes across as very manipulative…
As usual, more John and less Yoko would have been better…😁
What did George say about Yoko? And when?
It's said during the Let It Be sessions, John was so furious at what George said to Yoko, he could have hit him but just sat there, probably zoned out. That all said, it was George who played on the Imagine album, inc the jokey dig at Paul, How Do You Sleep? before going off John a bit after he didn't bother to turn up at some charity concert George put on, branding Lennon a narcissist or something. Later he didn't bother to mention John much in his odd memoir, which pissed Lennon off.
That all said, I think George was barely 30 at that point so... Never one to sugar coat things though.
Roger Moore 1927-2017
He said plenty 🤣 According to John, George was straight up rude to her from day 1. To her face.
He was particularly annoyed with her later on as she had a bed brought into the studio as they recorded Abbey Road 👀 John and her had been in a car accident…anyway, during a break - when everyone else was out of the room - Yoko got out of bed and started eating George’s biscuits 🫣
John wasn’t ever engaged when George wanted to record his music - he very often didn’t turn up at all…I think George played on John’s solo work because he was more p*ssed off with Paul…he felt Paul always treated him like a little kid.
How Do You Sleep?
Not a “jokey dig” at all…although it’s said Allen Klein came up with the worst insults on that record…and probably why Lennon used the tune again for Steel and Glass - his attack on Klein.
🤣🤣🤣🤣🤣
HIGH NOON (1952)
Here we go again – classic or not? Do we like the word ‘classic’? High Noon has a reputation that precedes any viewing these days.
I could pander on about the real-time action, the brilliant performance from Gary Cooper, the un-American behaviour of the townspeople who refuse to assist law and order when it is palpably threatened, Garce Kelly’s Quaker beauty, Katy Jurado’s Mexican lower caste who makes more money than anyone yet is as despised as a pseudo-whore, Lee Van Cleef in his movie debut, the marvellous gunfight, the excellent screenplay from Carl Foreman that binds conflicted morality alongside collapsing justice, the humming theme song, the noirish photography, Fred Zinneman’s strong controlled direction, the bitter final scene – anything else?
Well, High Noon is phenomenally influential. It keeps one watching throughout its swift runtime and it has a raft of decent eye-catching performances. The dialogue crackles with intent. The slimy hotelier who dislikes Marshal Will Kane [Cooper] because he’s cleaned up the town and now his business renting rooms for prostitutes has collapsed was a particular joy. Watching the film for the first time in many, many years, I was surprised how many scenes and sequences Sergio Leone nicked for his spaghetti westerns. He was a sly old dog, that Sergio.
Yeh, definitely a classic. No need to say any more. Brilliant.
You should follow that up with OUTLAND featuring Sean Connery. It's essentially HIGH NOON in space. Pretty decent movie.
Already done it on 15/5/2024 or thereabouts
FEDORA (1978)
A latter day Billy Wilder that lacks both wit and bite, the ingredients that poured sugar on his confections of success of the forties, fifties and sixties. Wilder didn’t always make comedies and some of those were spectacularly dark, but there is an uncertain tone to Fedora which first intrigues, then dulls and finally leaves one baffled as to the whole point of the enterprise. Basically, director and writer I.A.L. Diamond are revisiting Sunset Boulevard territory by uncovering the life story of a reclusive film star, this time the beautiful Polish emigree Fedora. William Holden returns, only he isn’t dead as in Sunset Blvd, the movie star is. I was reminded too of Mike Hodges cynical winner Pulp starring Michael Caine and Mickey Rooney that also encompassed dark secrets behind a façade of pretention and mystery.
Holden’s movie producer seeks out the one time star at her villa on Corfu and discovers she is being home treated by a shady plastic surgeon and doctor [Jose Ferrer] and monitored day and night by a Polish Countess, stuck in a wheel chair but deadly with a walking stick. The set up doesn’t reveal any sense of humour on anybody’s part. The film is limp in wit. It passes muster as a cynical deconstruction and reconstruction of fame and fortune and the perils that come with it, but the plot is about as obvious as the reflection on one of the 63 mirrors Fedora symbolically smashes at her Greek hideaway.
Marthe Keller is uninspired as the tragic heroine; Holden just feels too old for this kind of turn. Although chronologically he needed to be this approximate age, his character feels written for a younger actor. His lack of anger is noticeable. The lack of a romantic plot is equally conspicuous. The whole episode is a bit tawdry and turgid, not words I would usually apply to a Billy Wilder movie. He name checks Harlow and Monroe in the script, so you have a feeling the story of Fedora is not going to end well.
The rainy Corfu landscapes reminded me of the opening salvos of Kazantzakis’s Zorba the Greek. Cameos from Henry Fonda and Michael York prove diverting but insubstantial. The best scene is when Holden attempts to persuade Ferrer to deliver his script to the once-famous star. Two aging stars themselves, they deliver the consummate goods with all the understated fire and ice you’d expect. The best lines are given to the jolly Greek hotelier. Like the rain, and despite lashings of cynicism, Fedora isn’t up to much.
👍🏻👍🏻👍🏻
COMMANDO (1985)
Arnold Schwartzeneggar stars as John Matrix, an ex-Special Ops colonel whose daughter is kidnapped by an ex-dictator. He’s got previous with Matrix, as does the wingman, a crazy ex-Special Ops himself. Blood, thunder and explosions galore. Ridiculous from start to finish. Curiously enjoyable. Dead pan humour just about reminds us the thing is violent comic book hokum, although the body count is truly enormous. The star remains almost unscathed. A film not made for quality only quantity. There are more stunt men than cast members, it is that sort of product. I watched it all with a hazy grin, remembering how me and some mates hired the movie from the video store despite not being old enough and thought it was a real blast. It isn’t that, but it is of its time and kind, and you can’t fault the result of the effort put in. A young Alyssa Milano plays Arnie’s daughter. The screenwriter was Steven E. de Souza who would go on to pen Die Hard. Somehow, it works, just don’t ask how.
SWORD OF SHERWOOD FOREST (1960)
Terence Fisher does his workmanlike best to enliven this Robin Hood adventure from Hammer, the studio that usually brought us Dracula, Frankenstein or The Mummy. Here they dive into television spinoff territory. Star Richard Greene had made the part of Robin Hood his own thanks to ITV’s long running adventure series; he produces alongside original TV producer Sidney Cole. Filmed in Ireland, the sets and scenery are far more realistic than they ever were on the telly. The script is probably about the same low level standard. Peter Cushing is capably despicable as the Sherrif of Nottingham. There’s an early villainous supporting role for Oliver Reed. It’s all a bit tame really. Even Sarah Branch’s Maid Marion taking a nude swim is about as chaste as you can get. Her light shone bright for a few months before she retired to raise a family. Overall, I wasn’t disappointed, neither was I very enthralled.
Gotta love the James Horner calypso score.
The film works because it 100% commits to the goofy tone and never wavers. Everyone plays it completely straight even though it's pure cheese.
Making Vernon Wells into a Freddie Mercury style badass was genius.
All quiet on the western front (2022)
This is the newest version of the famous WWI anti-war story. Hitler outlawed both the novel and the 1930 film version, a feather in the cap to the story. It's about a group of idealistic German students who enter the brutal trench war at the ed of WWI. it's a very powerful story, and it's told very well. The combat scenes are intense and brutal. But the movie also shows the friendships and fellowship of the soldiers in a nice way, something I appreciate. The movie also focuses on the industrial aspect of the war. The opening shows a soldier getting killed during an attack. then we see how he is buried in a mass grave, his uniform is washed among many others and the bullet holes are repaired by seamstresses in a factory before it gets issued to new recruits.
What i didn't like that much was how some of the combat scenes sometimes are too exhilarating, making it feel more like an action movie. Some scenes are changed from the book. We see the generals and politicians at work too, something we didn't get in the novel.
It works pretty well, but it's less successful than the changed ending.
Edward Berger has been mentioned as the director of Bond26. He handles both the big combat scenes and the personal and quiet scenes between the soldiers equally well, so I'd be all for it if this happens. the cinematography is stunning. There is no romance and next to no humor in this movie, but that comes with the territory this time. I haven't seen Berger's "Conclave" yet, but I will as soon as I get the chance.
It was titled All Quiet on the Western Front here…I’ve not read the book so can’t compare…I thought it was excellent, and treated the subject in a mature and respectful way…Conclave is excellent as well…I’m sure you will enjoy it when you do get to see it 🍸
You're right, the English title is "All quiet ...". The Norwegian and German title is "No news ...." so subconsciously I must've translated it directly. I'll change it in my post.
Even though I haven't seen conclave yet I think "All quiet on the western front" and "Conclave" are very good qualifications for directing Bond. The first is full of spectacle, action, big sett pieces and grittiness. The second I expect to be a very tense thriller-drama in very luxurious locations. What I do miss is women on screen.
There’s no need to do that…films can have different titles in different countries…
He’s certainly a talented director…and Conclave is very good…but then you have a solid script and a great cast 🙂
War Horse (2011) Steven Spielberg
On that subject, I watched this last night and my main thought was "It's "All Quiet On The Western Front" with horses. Spielberg handles the big battle scenes with aplomb as one would expect and also gets overly sentimental at times, again as one expects from him by now. The horse is ably supported by Emily Watson (wonderful actor, always brings a part to life), Benedict Cumberbatch, Tom Hiddleston, and many more.
Underrated and underseen Spielberg. Fantastic score by John Williams too.
VOYAGE TO THE BOTTOM OF THE SEA (1961)
The most advanced US Navy submarine 'Seaview', designed and commanded by Admiral Harriman Nelson, on a special mission to the Artic ascends to confront a dangerous new reality.
The Van Allen radiation belt surrounding the earth is now filled with extremely hot meteors that are slowly raising the Earth's temperature.
Admiral Nelson estimates only a matter of days before the Earth is cooked.
As one of Earth's most brilliant scientists, Admiral Nelson proposes an ingenious method to knock out this layer of meteors.
On this perilous mission, many dangers confront the submarine crew.
Will Admiral Nelson succeed...? Will Seaview save the day...?
I guess the only way to know is to watch this wonderful film.
Directed by Irwin Allen and running at 105 minutes, 'Voyage to the Bottom of the Sea' is a terrific science-fiction film.
Highly recommended.
PS:
There is a giant octopus in this story as well. That thing is massive.
Anyone yet to see the latest Mission Impossible in the cinemas, UK residents may be interested to learn that the latest instalment (Part 1 of Final Reckoning I think it's called) is on Channel 4 tonight (Sat), its TV premiere so it may help as a primer for the one in cinemas now.
Roger Moore 1927-2017