![]() ![]() Now they and others must work together on a daring escape. only to get in trouble when, on New Year's Eve, a 90 foot wave capsizes the ship upside down. And at the end of the novel, the Poseidon sinks.Tom, Jerry and Tuffy alogn with Elena stowaway on the SS. The bow group of passengers survive in the novel, and look very little worse for wear, which makes the survivors in Scott's group question whether they were right to follow him, rather than join the group escaping from the bow. Also in the novel, the survivors have to wait for awhile before they are rescued from the hull. As for Linda, she's very verbally abusive towards Rogo, but unlike his film counterpart, Rogo almost always attempts to placate her, though at one point, he strikes her and is immediately apologetic. Rogo constantly needles Scott, but Scott never raises his voice to Rogo in return. Some of the more memorable scenes, where Rogo and Linda or Rogo and Scott argue aren't to be found in the novel. This was drastically toned down in the film, in order to make him a leader audiences could root for. Scott is much more ruthless in the novel, basically abandoning anyone who isn't fit during the attempt to reach the hull. Other than Robin, the characters who are killed off in the film also die in the novel, but in a different order. Acre and Peters don't accompany Scott's party, as Acre has a broken leg and Peters refuses to leave him. While searching for Robin, Susan is assaulted by a terrified crewman who mistakes her for a female crew member in the dark. Robin disappears during a blackout and is never found before the ship sinks. The novel was also much darker than the film. Peters and Acre were combined to the Acres character. Frank Scott was transferred to Susan Shelby. ![]() Mueller's arc, the man who protects Nonnie in the book, was transferred to the character of James Martin. A final member was Kemal, part of the ship's engineering crew. Also, there was a second steward, named Peters, and Acres was known as Acre. Characters who were dropped include passengers Miss Kinsale, Hubie Mueller, The Beamer and his companion, Pamela and Susan and Robin's parents, Richard and Jane Shelby. Most likely the Poseidon in the film has a similar backstory as a trans-Atlantic liner to Northern European ports but the film changes the plot as to having her on her last voyage upon which she will be sold for scrap.ĭue to the length of the novel, several characters were dropped completely from the film, or had elements of their characters merged into the characters who made it into the film. Atlantis a British trans-Atlantic ocean liner on the Southampton- Cherbourg-New York route that has been sold to an American company that uses the liner as a combined freight and cruise ship in South American and African ports. In the novel the Poseidon was originally the R.M.S. One can infer then that this last Christmas/New Years voyage to Athens is a celebratory way for her new owners to have one last voyage that will take her to the breakers in Greece, and in turn make some additional money on the liner. We learn in the film that once in Greece the Poseidon will be scrapped. Normandie served Northern European ports in France and England. Queen Mary, which the Poseidon is based on, and the S.S. Additionally no ships the size of the Poseidon ever served the Mediterranean route. The choice of Athens as a destination is odd in that most trans-Atlantic lines that served ports in the Mediterranean usually went to either France or Italy. All that is revealed is that the liner is on her last trans-Atlantic trip from New York to Athens in Greece via Gibraltar and the Mediterranean. The film gives very little backstory for the fictional S.S. Because the studio never spent any of the backers' money, the backers made a tidy profit from the success of the film without actually spending a dime. During the card game, Allen cajoled them into backing his film. Reportedly, Allen found outside backers by crossing Pico Boulevard from Fox's main gate to the nearby Hillcrest Country Club, where he found some friends playing cards. Fox finally relented when Allen promised to raise half of the budget himself. ![]() ![]() In addition to oceans of red ink incurred by its television division (ironically from high-budget shows produced by Irwin Allen), Twentieth Century-Fox was also suffering from losses from several big-budget musicals undertaken in the wake of the studio's enormous success with The Sound of Music (1965), Doctor Dolittle (1967), Star! (1968), and Hello, Dolly! (1969), as spectacles were being trounced by smaller character-driven films, and the studio was nervous about a disaster movie's prospects, especially one produced by Allen. ![]()
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