Movies

‘Nautilus’ gives Capt. Nemo a swashbuckling origin story

BBG News

The fundamental aspects of Jules Verne’s 1870 novel “Twenty Thousand Leagues Under the Sea” have been transformed into a TV series titled “Nautilus,” airing on AMC this Sunday. Originally commissioned and completed by Disney+, they decided to let it go, but AMC picked it up. Developed by James Dormer, this series is not an adaptation of the novel, instead serving as a prequel or origin story, where Nemo embarks on his submarine’s first voyage before becoming captain.

Jules Verne’s imaginative stories have been brought to life in various film adaptations, some more faithful than others, dating back to the early days of silent films like Georges Méliès’ 1902 “A Voyage to the Moon,” which was partially based on his 1865 novel “From the Earth to the Moon.” For several decades following this, filmmakers seemed particularly inspired by Verne’s works, perhaps influenced by the success of Disney’s “20,000 Leagues Under the Sea” and Mike Todd’s “Around the World in 80 Days.” Films like “Journey to the Center of the Earth,” “In Search of the Castaways,” “Five Weeks in a Balloon,” and more were practically a staple during this period. I fondly remember watching these films on TV as a child; they are cheesy but enjoyable, much like the updated version “Nautilus” with its advanced special effects, anti-corporate themes, diverse characters, and a touch of humor.

In “The Mysterious Island,” a follow-up of sorts to Verne’s “Twenty Thousand Leagues Under the Sea,” Nemo, traditionally portrayed as a madman, is reimagined as an Indian prince who was wrongfully deposed and lost his family at the hands of an imperial power. In this adaptation, Shazad Latif takes on the role of Nemo, displaying both stubbornness and bossiness, yet also embodying a youthful, passionate hero who has more often than not been victimized rather than villainous. Initially, we find Nemo as a captive of the British East India Mercantile Company, a corporation believed to be the most powerful ever, with influence surpassing any nation. They are constructing the Nautilus in India using forced labor, allegedly for the purpose of breaking into and exploiting the Chinese market, though it’s unclear how a submarine would achieve that. Nonetheless, it serves as their stated reason.

Nemo works alongside Gustave Benoit, the inventor of the submarine (Thierry Frémont), who received money from the corporation with the understanding it would fund exploration – scientists can sometimes be slow to grasp things. Nemo, whom the professor regards as the brain behind the engine of the vessel, has his own plans for the Nautilus and orchestrates a swift exit along with a motley crew of fellow prisoners in a thrilling scene reminiscent of “Indiana Jones”, a source of inspiration that is revisited frequently throughout the series.

And we’re off. On the agenda: escaping, revenge and finding buried treasure to finance revenge.

As the Nautilus, not quite at its destination, damages the ship they’re aboard, the crew unexpectedly finds themselves accompanied by Humility Lucas (Georgia Flood), a British socialite with exceptional engineering abilities and a background in science. She is being forced into marriage with the detestable Lord Pitt (Cameron Cuffe) in Bombay, and is accompanied by her chaperone/guardian Loti (Céline Menville), a Frenchwoman skilled in using a dagger, as well as cabin boy Blaster (Kayden Price) and a small pet dog. Tensions between Humility and Nemo are bound to escalate – first negatively, then positively, much like the dynamic between Astaire and Rogers in a movie – and there are even real sparks due to a faulty electrical connection that Humility manages to rectify.

Among Benoit, Humility, Loti, and a large individual named Jiacomo (Andrew Shaw), who originates from an unknown place and speaks a language not widely understood, along with a British stowaway, the diverse crew of the Nautilus includes individuals of South Asian, Asian, Middle Eastern, African, or Pacific Islander descent. While many characters aren’t fully fleshed out, the actors bring them to life, and the supporting cast provides humor, in abundance. One episode challenges the conventional trope where white explorers face danger from native tribes; instead, the captors are Nordic warrior women. The series is both anticolonial and anti-imperialist in a manner that “Star Wars” audiences might recognize, even if they don’t see it in their own world, and it is also anticapitalist, much like most films have been. The final episode, which deals with financial themes, is named “Too Big to Fail.” It is quite absurd.

The underwater series “Nautilus” has its moments where it moves slowly, which is understandable given its setting. However, its episodic structure adds vibrancy and intrigue to the show, making it more engaging than if it followed a single long-term plotline across all 10 episodes. It shares some similarities with “Star Trek,” pre-streaming, as both are like sailors navigating a dangerous environment, encountering diverse creatures and cultures on a weekly basis. The crew faces challenges such as being infected by unknown spores, battling small and large creatures, dealing with petty dictators and mythical beings, while constantly being chased by a formidable enemy – although instead of a Klingon Bird of Prey, it’s a colossal warship made of metal.

Highlights of underwater exploration (including some from Verne’s novel) are discussed: volcanoes, giant squid, giant eels, mechanical issues, oxygen depletion, and the remnants of a sunken civilization (Bennett wonders if it’s Atlantis). Unusual topics include an ice cricket match. Despite the presence of whales outside the window (and later, a whale rescue), not much attention is given to ocean marvels – it seems the special effects budget, which was generously allocated elsewhere, ran out for depicting schools of fish. However, these submariners have other concerns on their minds.

According to my hazy crystal orb, the chances for another season seem slim, so you might encounter a few unresolved plot points if you choose to watch. Despite moments where I was bewildered or found myself rolling my eyes at the absurdity, I have no regrets about the time spent here because there was always something intriguing – whether it was the visuals, the setting, or the steampunk design details – to keep me engaged. To put it another way, even a show like “Voyage to the Bottom of the Sea,” an old 1960s submarine series where John Cassavetes created a bomb that could wipe out three-quarters of the world and everything about it was illogical, including John Cassavetes’ presence, still managed to hold my interest. In short, “Nautilus” is actually quite enjoyable.

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2025-06-29 13:31

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