Our guide to streaming the winners of the Academy Awards' top prize, including 'All About Eve' and 'On the Waterfront.'
When Phileas Fogg and his servant Passepartout, their around-the-world journey begun, are sailing over the mountains that separate France and Spain, their balloon basket swoops close enough to a crag to enable Passepartout to scoop up a pailful of snow. He then produces a bottle of champagne from nowhere and places it in the pail to cool. In another jiffy, he and his master, sky high, are toasting one another and the success of their venture.
This is as good a scene as any with which to attempt to convey something of the antic spirit of “Around the World in 80 Days.” Mike Todd created it for his own amazement and now a sizable portion of that same world can share its assorted delights. The three things that make Todd’s picturization of Jules Verne’s prophetic novel of 1872 seem so fresh and different are the way in which it has been approached, the blown-up technical attractions and the surprises in the casting of the 40-odd “cameos” who pop up where and when you least expect them.
David Niven as Phileas Fogg and Mexico’s Cantinflas as Passepartout have made a triumphant virtue of the cliché, and in techniques as far apart as their training — Niven as the apotheosis of the Englishman who understates it in words, Cantinflas as the sad eternal clown who pantomimes it in actions. (
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