Disney's Atlantis: The Lost Empire and its Sources

It was very appropriate, and most likely unknowingly so, that Disney set 2001's Atlantis: The Lost Empire, in 1914. Indeed, in many ways it could not truly have been otherwise: the middle Victorian era saw the beginning of an explosion of interest in the lost continent that would not subside beneath the waves again until the 1960's. In the decade spanning 1895 to 1905, there were no less than 16 fiction novels, standing alongside countless ostensibly non-fiction pseudoscientific and spiritualist explorations, which solidified the Atlantis we know today: not as a holdover of ancient myth, but as an artifact of Victorian cultural anxieties.

Trailer for Atlantis: The Lost Empire (2001)

Deutschland im Jahre 2000

In January 1900, the German chocolate company Hildebrands placed these depictions of the Fatherland in the year 2000 in packages of cocoa and chocolates. Like En L'An 2000 and Moscow in the XXIII Century, these cards depict the usual turn of the century ambitions: airships, submarines, covered cities, television, and improved security. The overriding theme is bringing the hitherto unobtainable into the everyday. Aerial travel becomes everyday, and can even be used to venture to impenetrable locales like the Arctic. The oceans become accessible, and what isn't directly accessible is observable through mass media. So, in many ways, we are living in the golden age of Victorian futurism... I just wish it looked as good as these cards.   

Chocolat Lombart en l'an 2012

Founded in 1760, Chocolat Lombart was, in its heyday, the oldest and largest company in France. By the 1889 Exposition Universelle, the company was considered a model of efficiency and employee welfare. Their modern factory employed 500 people and provided health insurance, housing, and offered workers a share in the annual profits. All this had to be paid for by chocolate. Like cigarettes, fanciful collectors cards were included in chocolate packages to bolster those sales. In 1912, Chocolat Lombard presented its vision of all the amazing ways that customers could buy Lombart chocolates a century in the future.  

Don't forget the Lombart chocolates!

Stopping off at the chocolaterie.

On the video-phone with their son in Asia.

Chocolate delivery by air.

Le voyages dans la Lune.

Unda' the sea.

Unfortunately, if this advertising worked and you want to enjoy Chocolat Lombart yourself, you're out of luck. The company was absorbed by Menier Chocolates in 1957.  

Jules Verne's Facing the Flag

Facing the Flag (Face au drapeau) is one of Jules Verne's lesser known works yet one of those in the late stages of his career that are more prescient for their insights into human behaviour than for their technological speculation. It is a slight work, only 180 pages soaking wet, and had the pleasure of being adapted into an equally obscure film by Czech auteur Karel Zeman that was translated into English as The Fabulous World of Jules Verne (which is the greatest non-Hollywood adaptation of Verne, if not the the greatest adaptation period). Nevertheless, published in 1896, it contains seeds of ideas that are becoming frighteningly relevant now: unaccountable madmen wielding weapons of mass destruction.

The mad scientist and his small, but powerful, invention.
Image: Léon Benett.

Walt Disney World's 20,000 Leagues Under the Sea

A film as important as Disney's 20,000 Leagues Under the Sea meant that it has always had a presence at Disney's theme parks, in one way or another. A walk-through museum of the film's sets was originally planned for the Opera House on Disneyland's Main Street U.S.A. before finding a home in Tomorrowland in 1956. Disneyland Paris stepped up the concept by floating a full-size Nautilus in Discoveryland's lagoon, allowing visitors to descend into it and examine Nemo's ship for themselves. Tokyo Disneysea took it even further and created the Mysterious Island: Nemo's volcanic base, with a full-sized Nautilus at dock and two rides based on 20,000 Leagues Under the Sea and Journey to the Center of the Earth.

Arguably the most archetypal was Walt Disney World's 20,000 Leagues Under the Sea submarine voyage. When the Magic Kingdom opened in 1971, it imported Disneyland's 1959 classic Submarine Voyage, one of the original park's most popular attractions. To differentiate the two, this trip through "liquid space" was transferred from Tomorrowland to Fantasyland and given a brand new overlay. Instead of the atomic navy submersibles of the 20th century (which were themselves no longer as futuristic as they were in 1959), these became the iron-rivet crafts of the 19th. Where Disneyland allowed guests to ride in a replica of the USS Nautilus, Walt Disney World allowed guests to ride in the Nautilus.

Georges Méliès' Le Voyage à travers l'Impossible

George  Méliès' Journey Through the Impossible  
(Le Voyage à travers l'Impossible)  with original soundtrack by La Pêche.

Georges Méliès' Le Voyage dans la Lune (English: A Trip to the Moon) was the smash hit of 1902. In fact, it was so popular that it was causing no end of trouble for Méliès, who became one of the first victims of media bootlegging when illegal copies of the film were made and distributed all over the United States. The popularity of the film cried out for a return to Scientific Romances, to which Méliès responded by pulling out all of the stops in Le Voyage à travers l'Impossible (English: The Impossible Voyage or Journey Through the Impossible) in 1904.

Scientific Romances in the Land of the Rising Sun

Japan has a long history of Science Fiction, going far beyond the dystopian epics of Cyberpunk anime. It even goes back further than the immediate post-war period that gave rise to such things as the Kaiju monster movies and Osamu Tezuka's Mighty Atom. It goes all the way back to the worldwide scope of Scientific Romances and stands uniquely in the canon of the genre.

Walt Disney's 20,000 Leagues Under the Sea

After several years of production, design and location shooting, Walt Disney released his first Hollywood produced live-action motion picture in 1954. If the advertising was to be believed, it was in fact the mightiest motion picture of them all. Considering that the film was 20,000 Leagues Under the Sea, this is a credible claim. 

20,000 Leagues Under the Sea, starring James Mason as Nemo and Kirk Douglas as Ned Land alongside Peter Lorre as Conseil and Paul Lukas as Prof. Arronax, is perhaps the single most important modern film in the genre of Scientific Romance. 20,000 Leagues came to the silver screen in a post-Hiroshima, pre-Sputnik era when Atomic Age Science Fiction was the darling of young and old imaginations alike (not to mention drive-in theatre patrons). Between voyaging to forbidden planets and fighting off prehistoric monsters, filmmakers turned their attention back to the Scientific Romances of H.G. Wells and Jules Verne. The first of these was George Pal's War of the Worlds, which updated Wells' tale by placing it squarely in the modern day.

Following Treasure Island and a series of three Mediaeval historical dramas shot in England with money tied up during the Second World War, Disney sought another live-action project for production in his studios in Burbank. In doing so, he revived his childhood love for Jules Verne. His concerns, in making the film, were very much the stuff of adulthood, however.