When a preview of this film was shown, a questionnaire was distributed among the viewers asking what scene they liked. One person answered, "The scene where Robert Taylor saved Deborah Kerr from the fire." This was in reference to the fact that much of the stock footage used in the film came from Quo Vadis (1951).
The large statue in the temple was from The Prodigal (1955).
Although the prior year's The Time Machine (1960) was a big hit for George Pal, MGM gave him a tiny budget for this picture, hence the many shortcuts and footage used from other films. Russell Garcia, who scored the film, recycled themes from "The Time Machine"--even going so far as reusing entire cues from the earlier film. Additionally, William Tuttle, the makeup artist, had a considerable amount of blue body paint leftover from "Time Machine" as well: it may be noted that Neptune (who appears to Demetrios in a hallucination) is the same shade of blue as the Morlocks.
George Pal was unhappy with the script but was forced to begin production before it had been polished due to an impending writers' strike. The strike occurred during production, which stopped any rewrites.
Several shots from MGM's Quo Vadis (1951), Paramount's The Naked Jungle (1954) and other films, such as The Prodigal (1955) and Kismet (1944), are used in this picture.
The special effects model of the Atlantean submarine has been part of the collection owned by Forrest J. Ackerman for many years.
In addition to his credited narration, Paul Frees, without additional credit, dubbed the voices of three actors: An unknown appearing briefly as a messenger, and both Wolfe Barzell and Edgar Stehli, who played the fathers of the hero and heroine respectively.
Azor's chambers include a few Krell gauges from Forbidden Planet (1956) Also four of the pillars from the ship's Disintegrator Fence.
This was the only starring role in a feature film for Sal Ponti, and was the first time he was billed as "Anthony Hall."
Several scenes of the principal actors on palace steps were shot at the Three Musketeers Court set on MGM's Lot Two. And the climactic scenes with the crystal ray machine utilized the famous "Kismet" steps on MGM's Lot Three, which also appeared in Pal's "The Time Machine".
George Pal had wanted to do a film about Atlantis in the mid-1950s after reading a copy of the 1949 play "Atalanta, a Story of Atlantis" by Sir Gerald Hargreaves. Pal's studio at the time, Paramount, turned down the project.
The initial cut of this film featured men in DaVinci-inspired flying rigs. This sequence was cut due to the poor quality of the special effects and negative responses from preview audiences.
One of the factors that led to MGM's green-lighting of this production was the recent success of the U.S. release of Pietro Francisci's Le fatiche di Ercole (1958) (US title: "Hercules"). This began the cycle of spectacle films about Greek and Roman mythological heroes.
The mechanical-style drawings of Atlantean machines in the priest's room resemble the drawings of 'Leonardo Da Vinci' (v)'s inventions of the 15th century.
Laser device on temple steps in final sequence was reused in Man from UNCLE TV movie.
Final theatrical film of John Dall.
Another budget shortcut was utilized in the volcano eruption scene. Not only were the fire and lava shots stock footage, but they were also used in Pal's, "The Time Machine" the year before.