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Voyage to the Bottom of the Sea - Theme Song

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‘Voyage to the Bottom of the Sea’ TV Series Soundtrack Collection Announced

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Soundtrack Information

Voyage to the bottom of the sea.

Film Score Monthly (FSM Vol. 4, No. 10)

Release Date: 2001

• Voyage to the Bottom of the Sea (1961)
• Paul Sawtell
• Bert Shefter

Track Listing

Related albums.

Voyage to the Bottom of the Sea: 50th Anniversary Limited Edition Limited Edition of 2,000 Copies La-La Land Records (LLLCD 1187)

Released: November 15, 2011

Format: CD (56 min)

The Fantasy Worlds of Irwin Allen Box Set GNP Crescendo (GNPD-8044)

Released: 1996

Review: Voyage To The Bottom Of The Sea

Travel back in time with me to 1961, when visual effects were not so spectacular and science fiction did not rely on any basis of science fact to create a viable story line. While Irwin Allen's Voyage to the Bottom of the Sea may seem "hokey" by today's standards, its effects and story line were extremely advanced for its time and the movie is still considered a "classic" by many.� The movie was so successful that it also spawned a TV show that ran for 4 years (1964-1968).

Voyage to the Bottom of the Sea follows the adventures of Admiral Harriman Nelson (Walter Pidgeon) and the crew of the SSRN Seaview, the worlds first privately owned nuclear submarine.� As the movie starts, we join the Admiral as the Seaview is just completing its first run trials under the Artic Ocean.� All hell breaks loose when the Van Allan Radiation Belts catch on fire.� For those with little or no knowledge of astronomy, the Van Allan Radiation Belts are basically the charged particles that interact with solar winds and the Earth's magnetic field and produce the Aurora Borealis (Northern/Southern Lights).� Luckily for Earth, Admiral Nelson is also the smartest scientist on the planet, so after a few calculations on his slide rule (yes, slide rule!) he determines that the only way to save the planet is launch a nuclear missile into the Van Allan Belts. Most people disagree with him and soon the admiral finds him self in a race against time as the Earth moves closer to boiling point, the nations of the world are sending warships and submarines to stop the Admiral, and he is pushing his own crew ever closer to mutiny.

Voyage to the Bottom of the Sea is filled with many of the great underwater stereotypes we have come to know and love.� We have the super-advanced underwater sub with large glass windows, everything is "nuclear this" and "atomic that", and we even have our classic attack of the giant rubber squid tentacles!

The soundtrack for the Voyage to the Bottom of the Sea is a must have for any nostalgic movie music lover.� The first track, "Main Title - The Super Sub" features lyrics performed by Frankie Avalon (sorry, there's no Beach Blanket Bingo on this cruise).� This breathy anthem is nothing like the rest of the score, but since Frankie plays the supporting role of Lt. Danny Romano in the film, the producers probably figured he would help attract some of the younger viewers at the time.

The score by Bert Shefter and Paul Sawtell is good for several reasons.� First, it quickly develops a theme for the Seaview and incorporates portions of that into almost every other piece.� A "classic" orchestra performed the entire score - there are no electric guitars or synthesizers in this music.� Lots of percussion, scales up and down a harp and strong brass are used to let you know that something bad is happening.� This creates a very nostalgic atmosphere that can be compared to the classic Universal horror movies like Creature from the Black Lagoon .

Second, the score is a good example of how a soundtrack should propel a film.� Let's face it; if we removed the music completely, the film would suck by today's standards.� There's never really a "close up" of any actor and you know the sub is a tiny little model floating in somebody's bathtub. The dialog is bland, even when times are tense, and every body is walking on and off the set like it�s a high school play.� Add the music back in and the subtle clues to how you should be feeling begin to work their magic.� "Brave Volunteers / Cable Search / Dangerous Grounds / The Squid Attacks" is a good example of that I mean.� The piece begins with the familiar "Seaview theme"; every time you hear this music you are almost guaranteed a shot of the sub zooming along under the water.� Woodwinds and strings sing along with a familiar but intermittent harp as our heroes swim around under the water and then the brass kicks suddenly enough to make you wet yourself when the giant squid shows up.�

Finally, I feel that the score makes good use of a harp to create suspense and also carry the story forward.� A very good example of this is "Fire In Red / Fresh Air / The Ghost Ship".� The piece starts with the same familiar rapid scales on the harp that we have heard elsewhere in the score, aided again with strong of brass and strings.� As the track progresses, the harp is nothing more than a few faint notes fading in and out of the background to help fuel the suspense of an impending doom.

While this motion picture score in not the best out there, it is an extremely good example of how soundtracks were "back in the day" and how a soundtrack should carry a film in present times.� If you have never seen Voyage to the Bottom of the Sea, then I strongly encourage you to rent a copy.� It�s a great popcorn movie for a Saturday afternoon and you would be surprised by how many plot similarities it shares with The Hunt for Red October. � It makes you wonder if Captain Ramius didn't learn a few things from Admiral Nelson.

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Voyage to the Bottom of the Sea

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Brief Synopsis

Cast & crew, irwin allen, walter pidgeon, joan fontaine, barbara eden, peter lorre, robert sterling, photos & videos, technical specs.

As the U. S. O. S. Seaview , a mammoth glass-nosed atomic submarine designed by scientist Harriman Nelson, makes its trial run near the polar icecap, the Van Allen radiation belt suddenly bursts into flame and threatens to destroy the Earth. Nelson is convinced that the only hope for survival is to shoot a Polaris missile into the belt and thereby cause it to explode backward into space. When the United Nations rejects his proposal as being too dangerous, Nelson commandeers the Seaview and heads for the Marianas, where he plans to launch the missile. Also aboard the submarine are Susan Hiller, a psychiatrist studying the effects of prolonged confinement on human behavior; Cathy Connors, Nelson's devoted secretary; Lucius Emery, a noted physicist who concurs with Nelson's theory; Capt. Lee Crane, the Seaview 's skipper; Miguel Alvarez, a civilian scientist; and Chip Romano, a brash young officer. Once the vessel is underway, several of the personnel begin to question Nelson's sanity; and there are repeated attempts at sabotage. After a run-in with a giant squid and a passage through a World War II mine field, the Seaview is attacked by U. N. submarines sent to prevent the launching of the missile. But Nelson, knowing that the Seaview can withstand depths far greater than any other undersea vessel, takes his craft down deeper and deeper until the tremendous pressure causes the pursuing submarines to explode. When the Seaview reaches its destination, Susan is revealed to be the saboteur. Convinced Nelson's actions will destroy the world, she makes a last effort to prevent the launching; but she is accidentally killed. Crane then sets the detonator, and the Polaris is sent into space. The wild experiment proves successful as a shattering explosion restores the burning sky to a tropical stillness.

Michael Ansara

Frankie Avalon

Regis Toomey

Howard Mcnear

Henry Daniell

Charles tannen, delbert monroe, anthony monaco, robert easton, jonathan gilmore, david mclean.

George Diestel

Michael ford, l. b. abbott, charles bennett, herman a. blumenthal, george boemler, alfred bruzlin, warren b. delaplain, russell faith, albert gail, winton hoch, paul sawtell, ad schaumer, walter m. scott, bert shefter, jack martin smith, john sturtevant, helen turpin, paul zastupnevich, fred zendar, photo collections, voyage to the bottom of the sea on blu-ray.

Alvarez... are you saying that Man must accept destruction even though it's in his power to prevent it? - Admiral Nelson

It's not for us to judge, Admiral. - Alvarez

Not to judge, maybe; but we can reason. If God ordains that Man should die without a fight, then why does He give us the will to live? - Admiral Nelson

Miscellaneous Notes

Released in United States Summer July 1961

Released in United States on Video August 25, 1988

Released in United States March 1975

Film spawned the 60s television series of the same name.

CinemaScope

Released in United States March 1975 (Shown at FILMEX: Los Angeles International Film Exposition (Science Fiction Movie Marathon - Selection of Trailers) March 13-26, 1975.)

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Paul Sawtell (1906-1971) was a Polish-born composer who worked on dozens if not hundreds of films—many of them horror and western B-movies—at Universal, RKO and other studios in the 1940s and '50s. He scored a number of sci-fi and genre productions in the late '50s and '60s, many of them in partnership with Bert Shefter, including several projects for Irwin Allen, like the feature film and TV series of Voyage to the Bottom of the Sea .  IMDB

Russian-born Bert Shefter (1902-1999) had a solo career as a composer for B-movies before teaming with Paul Sawtell from roughly 1956-1971 (until Sawtell's death). Together they tackled a variety of genre films including The Fly, Voyage to the Bottom of the Sea , The Last Man on Earth  and Russ Meyer's Faster, Pussycat! Kill Kill!   IMDB

Voyage to the Bottom of the Sea [Original Television Soundtrack]

Paul sawtell / jerry goldsmith.

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Voyage to the Bottom of the Sea (Original Soundtrack) [1961]

22 October 2013 14 Songs, 52 minutes ℗ 2013 Classic Soundtrack Collector

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Wednesday, October 8, 2008

Voyage to the bottom of the sea - frankie avalon - "theme song" (1961).

12 comments:

I'll never forget the time I saw this on late night TV. I was young and reckless then, and I had just downed a six pack of beer followed by a bottle of cheap, red wine. BBBBBBBBBuuuuuuuuuuuurp.

What realy got me excited as a kid was when the sub surfaces at the 45 degree angle i mean it was empressive

Oh, but you forgot to mention TV's Topper's "George Kerby", I mean, Robert Sterling as "Captain Crane" (by the way, it was "Admiral Nelson" who was accused of smoking in bed). Of the cast named, Barbara Eden also starred alongside her real-life husband, actor Michael Ansara. And Del (Delbert) Monroe, the tense crewman "Kowski" pictured shattering the glass of milk, went on to play the Seaview's series regular "Kowalski". A devotee of 50's and 60's science fiction films, I am glad I happened on this site. I did so while searching to see if anyone had Avalon's Siren song about finding LOVE at the "bottom of the sea" ("blue-green" or otherwise). Frankly, I'm still quite not sure how to take his invitation. I love these tunes and scores. Thanks.

Yikes, and I plumb forgot Howard McNear (Andy Griffith's "Floyd Lawson") as "Congressman Parker"! Nor did I recognize character actor Henry Daniell as "Doctor Zucco" until now, some forty eight years after the film's release.

Hey Richard, There's no way we can cover it all, that's why we decided to focus on the music, but it's always great when someone like yourself wants to add more details, and yer right, it was the Admiral, I was just trying to see if anybody was paying attention! Thanx!!!

You can NOT be serious in saying this is the best of the submarine sci-fi movies. It's fun, but it's ridiculous. Let's start with the melting chunks of icebergs SINKING into the ocean in the beginning of the film. Goodbye laws of physics. Have you ever seen ice in water do anything but float? ICE CAN NOT SINK IN WATER! Also, The Van Allen Radiation Belt is not flammable, so the entire premise is impossible. I once saw a double feature of this movie and 20,00 LEAGUEs at a drive-in. Four hours of Peter Lorre (who is WASTED in VOYAGE) underwater. It was really obvious that 20,000 LEAGUES is a million times better movie.

We're not too serious about anything down here, but it was said as "arguably" the best. That means there's always room for another opinion! A lot of people think "Atomic Submarine" is the best!

By "a lot of people" I assume you mean three. I'm always up for a movie argument. Understand, I have VOYAGE on DVD, so I watch it from time to time. It has most of the flaws found in all Irwin Allan's movies, as well as their virtues, which is usually limited to a great cast. It's actually a teensy bit better than the average Irwin Allan film. It has nice special effects (No iguanas with fins pretending to be dinsaurs), and Red Buttons is not in it. I have a silly backstage story about it. Back in 1978, I took a stand-up comedy class at USC from Robert Easton, who plays "Sparks" in the movie. Now Bob is a tremendously good mimic. We got talking about VTTBOTS, and he said one afternoon a shot was delayed because Peter Lorre was off in the bathroom. Bob announced: "I could do Peter's part in this scene. I do his voice." So when Lorre returned to the set and said he was ready to shoot it, kidding him they said: "That's okay. We shot it. Bob did your part." Peter asked Bob: "Do you do an impression of me?" Bob said he did. Peter asked to hear it, so Bob did his Peter Lorre impression for Peter. Peter then said: "That was very good. Most people, when they do my voice, they whine. Why? I doooonnnnn't whiiiiiiinnnnnnne!" I found the TV series unwatchable.

Great story!!

Once the VOYAGE movie was a success, Irwin Allen announced an outer space version called PASSAGE TO THE EDGE OF SPACE with a budget of $3 million. It was never made of course, but it probably made him start thinking about what would become LOST IN SPACE...

Did Frankie Avalon actually play the trumpet in that one scene, or was it overdubbed by another trumpet player? Sounded great. Avalon was a trumpet player as a kid.

Don't honestly know the answer, but I'm going to say yes since he was a quite proficient trumpet player, who even had a couple of early singles that featured his trumpet playing.

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Monster Music

A father-son road trip, but they’re going two directions

“Where the Mountain Meets the Sea,” a lyrical play infused with folk music, is lovingly staged at Signature Theatre.

It’s the silence that captures a fractured relationship’s unspeakable ache in “Where the Mountain Meets the Sea,” playwright Jeff Augustin’s mournful, folk-music-infused play now onstage at Signature Theatre. As a Haitian immigrant and his college-bound son share a car ride, unable to admit even pride or appreciation for each other, the things left unsaid will burden them for years to come.

That scene evokes a similar drive from the musical “ Fun Home ,” itself a master class in parent-child reflection. In both cases, the audience already knows the father will be gone too soon, leaving the child to contemplate unshared truths. As anyone who has drifted from and then lost a loved one before reconciling understands, the immediate loss burns and the enduring guilt smolders. But while “Fun Home” emphasized that irreparable tragedy, “Where the Mountain Meets the Sea” follows dueling perspectives and a time-transcending narrative toward emotional liberation.

Augustin crafted this gentle reverie alongside the Bengsons, the married folk-rock duo whose elegiac interludes and ethereal underscoring liven the tale without overwhelming it. The music comes in service of two intertwined monologues focused on journeys set decades apart: As the father, Jean, recalls a Florida-to-California venture he took with his wife when she was pregnant, his 34-year-old son, Jonah, recounts making the same trip in reverse before spreading his father’s ashes.

Inhabited by Robert Cornelius with easy charm and heartfelt sincerity, Jean finds a silver lining to undercut every curmudgeonly complaint. Sure, he traded his career as a schoolteacher in Haiti for a living handling people’s luggage at the Miami airport. He also rues his “monster” of a landlord, bemoans the U.S. education system and insists Floridian sand has nothing on Haitian sand. But with a smile and the occasional song, he relishes the American Dream all the same.

His son feels less at ease with his otherness. Played by Isaac “Deacon Izzy” Bell — the DuPont Brass vocalist who made an eye-opening theater debut in “Passing Strange” on Signature’s same Ark stage a year ago — Jonah is a queer man struggling to understand his roots and his relationships when he decides to retrace his parents’ steps. Along the way from Los Angeles to Miami, a run-in with a Nigerian heartthrob begins to recalibrate his fraught relationship with intimacy.

Cornelius and Bell are joined in director Timothy Douglas’s lush staging by musicians Awa Sal Secka and Rob Morrison. (They stand in for Abigail and Shaun Bengson, the show’s composers, who performed in the play’s 2022 premiere at Manhattan Theatre Club.) Playing the guitar, banjo and all manner of percussion, the alluring duo flood the space with the kind of soulful Americana that reminds Jean of Haitian folk songs. Therein lies one of Augustin’s smartly sketched through lines: the potency of sound, sight and smell as memory-inducing stimulants.

The Style section

Tony Cisek’s rustic set, a wooden backdrop lined with an epoxy-like river design, is strikingly colored by hues of blue and green. (Harold F. Burgess II is the lighting designer.) Dane Figueroa Edidi’s choreography imbues the proceedings with loving embraces and parallel-emphasizing imagery, as Jean and Jonah intersect across time and space without interacting. If Douglas’s staging of “The Color Purple” at Signature in 2022 was a feat of maximalist emotion, this restrained endeavor is a tribute to the veteran director’s storytelling dexterity.

Jonah’s road trip concludes with a poignant and cathartic epiphany, but the understated ending left me wishing Augustin had laid down more runway before arriving at this final destination. There’s something to be said, however, for the heartstring-tugging peaks “Where the Mountain Meets the Sea” summits over a slim 80 minutes. It’s a lyrical play about fathers and sons, first and foremost. But it’s also about the immigrant experience and sexuality. Identity and self-reflection. Grief and release. A lot of terrain, in other words. But isn’t that what road trips are for?

Where the Mountain Meets the Sea , through July 7 at Signature Theatre in Arlington, Va. About 80 minutes. sigtheatre.org .