Beyond the vistas, the film invented a concept that remains a staple of modern cinema: the star-studded cameo. Todd managed to convince almost every major Hollywood icon of the era to appear in brief, often uncredited roles. Audiences delighted in spotting Frank Sinatra playing a saloon pianist in the American West, Buster Keaton as a train conductor, and Marlene Dietrich as a sultry saloon hostess. It turned the movie into a giant game of cinematic hide-and-seek, elevating a straightforward adventure story into a communal celebration of Hollywood royalty.
Critics of the era were captivated by the sheer audacity of the spectacle, though modern eyes often view the three-hour runtime as a bit self-indulgent. The pacing can feel relaxed by today's hyper-edited standards, lingering on lengthy traditional dances and bullfights that do little to advance the plot. Yet, the undeniable chemistry between Niven's stiff upper lip and Cantinflas's physical brilliance keeps the human element alive beneath the crushing weight of the production's massive budget.
When Oscar night arrived in 1957, the industry rewarded Todd’s monumental gamble. The film took home five Academy Awards, including Best Film Editing, Best Cinematography, and the coveted Best Picture trophy. It stood as a triumphant declaration that the silver screen could still offer an experience so vast, so colorful, and so spectacular that television could never hope to compete with it. Decades later, it remains a fascinating time capsule of an era when Hollywood believed that the only way to tell a story about the world was to go out and capture it, piece by magnificent piece.
The Good: A Triumph of Scale and Showmanship
The absolute best part of the film is its status as a marvelous time capsule of classic Hollywood craftsmanship. Producer Michael Todd wanted to give audiences a reason to leave their new television sets at home, and he succeeded by delivering pure visual grandeur. The gorgeous 70mm cinematography captures landscapes with a rich, immersive depth that still looks impressive today.
The casting is another major victory. David Niven was quite literally born to play Phileas Fogg, embodying the unflappable, precise nature of the character with effortless wit. He balances perfectly with Cantinflas, who brings incredible physical comedy, warmth, and expressive charm to Passepartout. Their chemistry keeps the heart of the story beating through all the massive sets.
Finally, the historic cameo format adds a unique level of entertainment. Watching a movie turn into a treasure hunt for legendary faces like Frank Sinatra, Buster Keaton, and Marlene Dietrich remains a delightful novelty that gives the entire three-hour journey a playful, celebratory energy.
The Bad: Bloated Pacing and Outdated Perspectives
The primary issue for modern viewers is the agonizing pace. The movie often stops being a narrative and becomes a travelogue. Todd was so proud of the expensive footage he shot around the globe that he refused to cut it down. The story frequently grinds to a complete halt to showcase long, uninterrupted sequences of traditional dances, geographic flyovers, and local rituals.
The comedy bullfight scene featuring Cantinflas in Spain is an excellent example. While it showcases his genuine, impressive skills as a comic bullfighter, the sequence stretches out for a massive chunk of time, doing absolutely nothing to move Phileas Fogg closer to his eighty-day goal.
There is also the uncomfortable reality of its era. The film views the globe through a deeply colonial, western lens of the 1950s. Foreign cultures are regularly depicted as exotic caricatures or backwards stereotypes. The most glaring example is the casting of Shirley MacLaine—a white American actress—as Princess Aouda, an Indian noblewoman. Complete with darkened makeup, it is a casting choice that feels incredibly jarring and dated to contemporary audiences.
Ultimately, Around the World in 80 Days is a monument to a vanished style of filmmaking. It is beautiful, ambitious, and charismatic, but it requires a fair amount of patience to navigate the self-indulgent runtime and the cultural blind spots of its time.
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