L'Atlantide is an early action, adventure movie that strongly recalls the exotic fiction of Jules Verne. Pierre Benoit, the author, clearly was following Verne's footsteps as he retailed a story of French soldiers stationed in colonial Algeria on the cusp of World War I getting lost in the desert and ending up in the kingdom of Atlantis. According to the conceit of the story, part of Atlantis survived the great flood that destroyed most of the island 9,000 years ago and became an oasis in the center of the Sahara desert.
The basic plot of the novel recounts how three French soldiers end up in this kingdom under the rule of a mysterious queen. As the filmization of the novel unfolds, the viewer discovers this queen collects and discards husbands as it strikes her fancy. The exes end up as preserved, life-sized gold statues in the queen's main chamber. Talk about trophy husbands! In the story, the queen meets her match when one of the French soldiers, a religiously pious man who's totally indifferent to the queen's charms. This maddens her and she connives through the use of drugs to get the soldier's friend to kill the man who spurned her. Eventually, the soldier who killed his friend and a female member of the queen's entourage flee the kingdom only to fall victim to the desert. The young woman dies but the soldier barely survives. In the end, the soldier, after having told his story to another friend, sets out to find the kingdom once again as all men who come into contact with the Queen of Atlantis must go back to her.
That, in a nutshell is the story. What such a cursory description cannot detail is the often striking cinematography which was actually shot on location in the Sahara under very difficult circumstances. Also, such a description can't tell how the story is a strange combination of femme fatale a la Salome, covert religious melodrama as well as exotic adventure. The set design of the queen's palace is striking and reminiscent of the elaborate painting of the Symbolist painter, Gustave Moreau.
The principal problems of the film are the overacting by the title character and the over length of the film. The narrative itself is also convoluted as the audience is treated to flashbacks within flashbacks which aren't hard to follow but add to the length of the film. Also, at the denouement, the main character simply runs away from the Queen without directly confronting her even though the movie ends with this character setting out to return to her. Such a resolution seems rather unsatisfying. Another plot line not followed through is the guilt the queen feels for causing the death of the man who spurned her. The guilt is shown but doesn't go anywhere plot-wise.
In sum, a fascinating film that according to what I read was quite successful in its day but very dated in many ways. My advice, be patient with it, laugh at the silly parts and be intrigued by the set designs.
The basic plot of the novel recounts how three French soldiers end up in this kingdom under the rule of a mysterious queen. As the filmization of the novel unfolds, the viewer discovers this queen collects and discards husbands as it strikes her fancy. The exes end up as preserved, life-sized gold statues in the queen's main chamber. Talk about trophy husbands! In the story, the queen meets her match when one of the French soldiers, a religiously pious man who's totally indifferent to the queen's charms. This maddens her and she connives through the use of drugs to get the soldier's friend to kill the man who spurned her. Eventually, the soldier who killed his friend and a female member of the queen's entourage flee the kingdom only to fall victim to the desert. The young woman dies but the soldier barely survives. In the end, the soldier, after having told his story to another friend, sets out to find the kingdom once again as all men who come into contact with the Queen of Atlantis must go back to her.
That, in a nutshell is the story. What such a cursory description cannot detail is the often striking cinematography which was actually shot on location in the Sahara under very difficult circumstances. Also, such a description can't tell how the story is a strange combination of femme fatale a la Salome, covert religious melodrama as well as exotic adventure. The set design of the queen's palace is striking and reminiscent of the elaborate painting of the Symbolist painter, Gustave Moreau.
The principal problems of the film are the overacting by the title character and the over length of the film. The narrative itself is also convoluted as the audience is treated to flashbacks within flashbacks which aren't hard to follow but add to the length of the film. Also, at the denouement, the main character simply runs away from the Queen without directly confronting her even though the movie ends with this character setting out to return to her. Such a resolution seems rather unsatisfying. Another plot line not followed through is the guilt the queen feels for causing the death of the man who spurned her. The guilt is shown but doesn't go anywhere plot-wise.
In sum, a fascinating film that according to what I read was quite successful in its day but very dated in many ways. My advice, be patient with it, laugh at the silly parts and be intrigued by the set designs.