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Sadly Over-hyped

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Producer: Michael Balcon. A Gaumont-British picture. Copyright 11 November 1935 by Gaumont British Picture Corp. of America. New York opening at the Roxy: 27 October 1935. U.K. release through Gaumont-British Picture Corporation, Ltd: January 1936. Australian release through 20th Century-Fox: 17 June 1936. 10 reels. 94 minutes. U.K. release title: The TUNNEL. SYNOPSIS: In the mid-1940s, work begins on an underocean tunnel to link the United States and Great Britain. Twenty years later, after many vicissitudes, the project is completed. NOTES: A re-make of a 1933 German film Der Tunnel directed by Curtis Bernhardt, starring Paul Hartman and Ferdinand Marian.COMMENT: Although cursed with an impossibly dime-novel domestic plot, this is still an impressive piece of science fiction with some great models and special effects. No expense has been spared with sets and extras. Elvey has directed the action and mob scenes with assurance and flair. He's also managed to prevent the old-fashioned plot from swamping the more interesting construction work by handling it at a rapid pace. The four leads do what they can with their bits of romantic nonsense, with vampish Vinson coming off best. The support players, led by Smith, Sydney and Oscar, with guest cameos by Arliss and Huston, are as usual more interesting than the top-billed stars. A lot of money has been spent on this film. And it's all up there on the screen. OTHER VIEWS: Although the premise of an underocean tunnel may not seem all that promising, this science fiction classic is still a pretty stunning visual experience even in this day. No doubt many of the impressive sets were salvaged for use as stock shots from the German film. All the same, there are no visible joins.

An interesting futuristic film on the premise of building a tunnel under the Atlantic ocean to link Britian and the USA. Richard Dix is his usual stalwart presence as McAllan, an engineer who has in this scenario already created a tunnel under the English Channel, uniting France and England as of 1940, five years in the future from when the film was released.There are the usual disasters, delays and money problems. The crux of the film though rises from the tragic flaw of hubris (pride), which causes tragedy within the family of McAllan due to his dogged determination to put his job/his vision above all else.A slight problem results from casting both leading women (Madge Evans and Helen Vinson) since they resemble each other so closely, one has trouble following who is on screen. The best moment is the meeting of the two late in the film and the touching and illuminating scene that results.Leslie Banks is excellent as the best friend. Henry Oscar is a marvelous villain, self-assured and wickedly serene. Arliss and Huston have two back to back scenes, beginning at 43 minutes in and one hour and fifteen minutes in. They are quite short and constitute cameos.The real star here is the art direction of the tunnel itself.It is kept vague as to exactly how the USA and the UK are going to benefit from this tunnel, however. Seems more problematic than somewhat as opposed to sea or air travel.It's quite gripping and quite enjoyable. Recommended.

Several reviewers mentioned that this film is a perfect companion for Things to Come. That's because the model work for both was done by Ned Mann. In late silents through the 1930s Mann's work was unsurpassed. He flooded Palestine in Noah's Ark (1928). Then he went to the South Pole in Dirigible (1931) and destroyed Manhattan in Deluge (1933). His sets were so realistic because they were huge, probably unsurpassed in size until 2001 A Space Odyssey (1968). In Transatlantic Tunnel the model train seems to come from infinity, pass by the camera and go to infinity (in actuality a quick wipe and film reversal). I'm a professional model builder so I watch this and the other films mentioned on a regular basis and continue to be amazed. The full size sets are also well done, particularly when combined with Mann's miniatures.In its abbreviated form called The Tunnel, the editing leaves a lot of plot holes. Now that the complete version is available it makes a lot more sense. However, the plot is leaden and the acting sub-par. If you're into model special effects you'll watch it again and again; otherwise, once is enough.

There's an art deco look to the streamlined images of many scenes from THE TUNNEL, giving it the futuristic look it needs to succeed as science fiction. There are even TV screens and/or videophones being used in 1935 for conversations between RICHARD DIX and his wife, MADGE EVANS, both of whom have to spend too much time on the domestic drama behind the main story of the tunnel.Their unhappy marriage comes into play when he becomes heavily involved in construction of an Atlantic tunnel connecting the British mainland to the U.S.A. "His real self stays behind in the tunnel," she tells LESLIE BANKS, her husband's co-worker. Later, their grown son becomes a worker in the tunnel but is tragically killed during a volcanic burst of lava that forces a section of the tunnel to be sealed off by emergency doors so that many other lives can be spared.There is much talk about the "depth of the Atlantic" and "the character of the sea bed", and references to "new steel and radium drills" that are supposed to make the concept of a transatlantic tunnel possible. And to the credit of the filmmakers, they do make such an undertaking look realistically possible, at least for the duration of the story.C. AUBREY SMITH lends his sober presence to a good supporting role but the film is largely concerned with the domestic troubles of Dix and his wife. MADGE EVANS looks so much like Norma Shearer in the glossy close-ups she gets and was clearly one of the most classically beautiful of the '30s film actresses.But when the action is centered on the tunnel, the film remains fascinating to watch, beautifully photographed in B&W. Unfortunately, RICHARD DIX is given to overacting at every opportunity, particularly during the melodramatic situations involving his marriage.Summing up: Melodramatic, but in many ways, ahead of its time in true sci-fi style. WALTER HUSTON as an American president and GEORGE ARLISS as a British Prime Minister have cameo roles.