L'ATLANTIDE

Brigitte Helm

L'ATLANTIDE (1932). Director: G. W. Pabst.

Captain Saint-Avit (Pierre Blanchar) and Lt. Morhange (Jean Angelo) are on a mission in the Sahara when they somehow stumble across the lost city of Atlantis. There Saint-Avit becomes pathologically obsessive towards the queen, Antinea (Brigitte Helm of Metropolis), driving him -- at her direction -- to a despicable act against his friend, Morhange. This oddball French production can only be taken seriously if you look at it as a dream or allegory, as little in the movie makes much sense. Although there is some atmosphere in the claustrophobic tunnels through which the cast sometimes travel, there is no attempt at describing or elucidating the realities of this allegedly lost civilization. Brigitte Helm is no raving beauty (as Antinea was in the remake, Siren of Atlantis), but she is quite striking, although it's hard to judge her actual acting ability in this. With his quietly handsome and sensitive features, Pierre Blanchar makes an impression as Saint-Avit, although Jean Angelo is a bit more standard and blustering as his comrade. Vladimir Sokoloff [Beyond the Time Barrier] is excellent as the strange Count Hetman, who was apparently taken to Atlantis from Paris years before -- a long flashback showing him in Paris with Can-Can girls and the like interrupts the main "action," if you can call it that. The movie is strangely sensual, with interesting images throughout, and there are more actual love scenes in the picture than in the remake. What may keep you watching -- even if you can't wait for it to be over -- is Wolfgang Zeller's highly interesting musical score. The novel (by Pierre Benoit) that this was based on was also filmed as the silent film Missing Husbands, the aforementioned Siren of Atlantis, two other Pabst versions also made in 1932 starring Helm but with two different lead actors (Queen of Atlantis and Mistress of Atlantis), a 1972 foreign telefilm and a 1992 French remake, as well as Edgar G. Ulmer's Journey Beneath the Desert.  Pabst is most famous for the silent film Pandora's Box.

Verdict: A curiosity with some interesting elements, but not really an especially good picture. **. 

BEYOND THE TIME BARRIER

BEYOND THE TIME BARRIER (1960). Director: Edgar G. Ulmer.

Major William Allison (Robert Clarke) flies his plane on a test run and somehow manages to cross the time barrier, winding up in a dismal world 64 years in the future. Due to a cosmic plague from space travel, the inhabitants of the underground city he is taken to are mostly sterile deaf mutes, and there are mutants -- with very wrinkled bald pates -- groveling in a prison pit. People who have escaped the plague are contemptuously referred to as "Scapes." Both the Captain (Boyd "Red" Morgan) and Supreme (Vladimir Sokoloff), who are the rulers, suspect Allison of being a spy, although it's hard to imagine why anyone would want to spy on this pathetic "civilization." Other "spies," whose aircraft or spacecraft also crossed the time barrier in later years than Allison's, include General Kruse (Stephen Bekassy of Black Magic), Dr. Bourman (John Van Dreelen of The Leech Woman) and Captain Markova (Arianne Arden Ulmer, the director's daughter). The most sympathetic person in this futuristic world is Trirene (Darlene Tompkins), who seems to have some psychic power and is hoping to repopulate the world with Major Allison. The other "spies" want to help Allison get back to his time so he can prevent the plague, but perhaps they have something more sinister up their sleeves ... Clarke [The Hideous Sun Demon], who also produced, gives a good performance in this, but the movie is old comic book-level sci fi schlock: dying future societies with horrible mutants were nothing new even in 1960, and a couple of interesting ideas are not well-developed. The acting is generally good, with Arianne Ulmer, who had few other credits, credibly bitchy, and the expressive Tompkins, who was introduced in this picture, poor gal, getting things across with no dialogue; she had a few more credits than Ms. Ulmer. Both Sokoloff and Boyd, who wears a ridiculously long and pointy beard in this, had a great many credits. The ending is rather downbeat, especially given that the Major is a pretty decent guy.

Verdict: Could have used a few monsters to liven things up; Clarke deserved better. **.