The screenplay was written by , , and based on the by. The music score was composed by , and the cinematography shot in was by. The film's seven-minute-long animated , shown at the end of the film, was created by award-winning designer. The film won five , including. Broadcast journalist presents an onscreen prologue, featuring footage from 1902 by , explaining that it is based loosely on the book by. Also included is the launching of an unmanned rocket and footage of the earth receding. In 1872, an English gentleman claims he can circumnavigate the world in eighty days. He makes a 20,000 wager worth about £1. Together with his resourceful valet, , Fogg goes hopscotching around the globe generously spending money to encourage others to help him get to his destinations faster so he can accommodate tight steamship schedules. They set out on the journey from Paris by a named La Coquette upon learning the mountain train tunnel is blocked. The two accidentally end up in Spain, where Passepartout engages in a comic bullfight. Next, he goes to. Meanwhile, suspicion grows that Fogg has stolen £55,000 around £4. In India, Fogg and Passepartout rescue young widow Princess Aouda from. The three visit Hong Kong, Yokohama, San Francisco, and the. After sailing across the Atlantic, and 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. Although he is now exculpated, he has insufficient time to reach London before his deadline and thus has lost everything — but the love of the winsome Aouda. Salvation is at hand when, upon returning to London, Passepartout buys a newspaper and sees it is still Saturday. Fogg then realizes that by traveling east towards the rising sun and by crossing the , he has gained a day. There is still time to reach the Reform Club and win the bet. Fogg arrives at the club just before the 8:45 pm chime. Aouda and Passepartout then arrive, surprising everyone, as no woman has ever entered the Reform Club before. The film boasts an , with and in the lead roles of Fogg and Passepartout. Joining them are as Princess Aouda and 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. There is also a comic bullfighting sequence especially created for Cantinflas that is not in the novel. Indeed, when the film was released in some non-English speaking nations, Cantinflas was billed as the lead. 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. The director he hired, Michael Anderson, had directed the highly acclaimed British World War II feature 1955 , 's feature 1956 , and other classic films. Todd sold his interest in the format to help finance the film. Because Todd-AO ran at 30 frames per second, which was incompatible with the 35mm standard of 24 fps, Around the World in 80 Days was filmed twice, like the first feature in Todd-AO,. After these two films, the specification for Todd-AO was altered after the third film in the format, , to 24 fps running, making it unnecessary to film subsequent productions twice. In his 1972 autobiographical book , 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 also described the first meeting between Todd and 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. Todd said he and the crew visited every country portrayed in the picture, including England, France, India,East Pakistan now Bangladesh , Spain, Thailand, and Japan. There is also a cat at the Reform Club. They used all 6,500 residents of a small Spanish town called , 45 kilometres 28 mi from , 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. 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. 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 , 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, , in which the protagonists explore Africa from a hydrogen balloon. 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 , an office complex in the L. In his memoirs, Niven related that Todd completed filming while 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 film, 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. The film's release and subsequent success vindicated Todd's considerable efforts. The film premiered on October 17, 1956 at the Rivoli Theater in New York City. 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. 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. His biography, The Nine Lives of Michael Todd, was published after their deaths which put a macabre spin on the title. The development of the film and the personal life of actor Mario Moreno during that time were dramatized later in the 2014 film,. Anniversary celebration CBS paid Mike Todd for the rights to cover the anniversary celebration as a television special. Todd and his wife are seen here at home in a film clip which was used for the television special. Unsourced material may be challenged and. October 2010 The film was originally distributed by in two Todd-AO 70 mm versions, one for Todd-AO 70 mm release at 30 frames per second, and an alternative 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. Although the leaders on the optical sound prints were labelled for 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. Since the opening shot of Murrow was 1. 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 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. The 24 frames per second 70mm prints were also the 167-minute version in that year too. As a publicity stunt, Todd Jr. 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 , who was the widow of producer Michael Todd and had inherited a portion of Todd's estate. In 1983, 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 , this was before any restoration on the movie was announced. 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. Mike Todd had limited 35 mm anamorphic prints made with a non-standard compression ratio to provide a 2. These special 35 mm prints are called Cinestage, the same name of Mike Todd's showcase theatre in Chicago. As of the present time, WB remains the film's rights holder. Included on one of the disks is a documentary film, about 50 minutes long, about Michael Todd. The soundtrack was commercially released on vinyl and audio tape. Two CD versions were released as well, including a digital remastering of the original Decca Records album on MCA in the 1980s and an expanded version with extra tracks on the Hit Parade Records label in Canada in 2007. There was also a model kit of the balloon, a board game, and a adaptation. A Cantinflas puppet was released separately, dressed in an outfit similar to the Passepartout costume. Retrieved October 1, 2010. Retrieved March 2, 2013. Retrieved March 2, 2013. Retrieved January 8, 2007. Retrieved November 6, 2017. Tony Fairbanks, a written and visual archive. Retrieved 20 July 2018. Retrieved October 1, 2010. Retrieved October 1, 2010. Retrieved August 16, 2016. Retrieved August 16, 2016 — via IMDb. Retrieved February 9, 2009. Retrieved July 6, 2014. Boston, New York: Houghton Mifflin Harcourt.
