|
Figure 1: A Fleet of Seaviews (1965) The three primary Seaview studio models can be seen in this 1965 photograph taken at the moat in back lot at 20th Century-Fox. The red models In the foreground are miniatures of the mini-sub. The model in front of the smallest Seaview was used in a number of episodes of the TV series. Sometimes it was an enemy sub; at other times it was one of the good guys. |
40 years ago - in the mid 50's and early 60's - two new frontiers were opening up to exploration: the sea and the universe. Both the Russians and the Americans were aggressively pursuing their space programs, and the world's first nuclear submarines - the Nautilus and Skip Jack - made historic dives under the artic ice fields. Naturally, in such a climate, human imagination was stirred by the evolving technology to produce some of the best - and worst - Science Fiction of the century.
During the summer of 1960, Irwin Allen promoted a movie concept to 20th Century Fox. His idea involved a futuristic submarine that would race against time and various human obstacles to save the world from destruction. The centerpiece of the story was an atomic research/military submarine, capable of diving to extreme depths.
With the help of writer Charles Bennett, the storyline was completed and in 1961 the movie Voyage to the Bottom of the Sea (produced and directed by Irwin Allen) was released by 20th Century Fox. It starred Walter Pigeon, Peter Lori, Barbara Eden and Frankie Avalon. The story was okay, but was fairly standard SciFi for the period really. It was, however, more remarkable for its use of miniatures and other under-water special effects - especially the submarine Seaview.
Two years later, Irwin Allen produced a pilot (the first ever in color) for a TV series based on the general story from the movie. This episode ("Eleven Days to Zero") guest-starred Eddie Albert, and was eventually broadcast on Monday, September 14, 1964 (in black and white, of course). Richard Basehart and David Hedison replaced Walter Pigeon and Robert Sterling as the primary characters from the movie.
The final episode - titled "No Way Back" - aired on March 31, 1968.
|
Figure 2: (1965) The huge 17ft studio model being prepared for filming at the back lot at 20th Century-Fox. For surface shots, the model was dragged on a submerged cart. Note the model of the flying saucer from The Day the Earth Stood Still in the foreground.. |
|
Figure 3: (1965) David Hedison (a.k.a. Captain Lee Crane) holding up the 4ft studio Seaview studio model while swimming in the moat on the 20th Century-Fox back lot. In the background are the 8.5ft and 17ft models. The red model In the foreground is one of the miniatures of the mini-sub. |
In addition to Irwin Allen, many people at 20th Century Fox were involved with the design of the submarine Seaview. Jack Martin Smith (Supervising Art Director at Fox), Herman Bluementhal, Lyle Abbott and Herb Cheek (head of miniature props at Fox). It was important to Allen that the Seaview be both interesting in appearance and plausible. He wanted the interior sets to match the exterior design of the submarine (a rule that he eventually broke for the TV series), and he liked lots of hardware full of blinkin' lights. To this end, the Navy was consulted in both the design of the Seaview and the interior sets.
Early designs of the submarine involved the basic shape of a conventional sub of the time, but with a large transparent observation dome aft of the conning tower. Eventually, this dome was moved to the nose, and replaced with large windows (24 of them on two decks). Finally, the 24-window design was reduced to 8 windows (still using two decks) and the large manta ray-like fins were added, giving the Seaview its characteristic nose. The rocket-like fins on the stern were certainly products of the 60's - this is what do you get if you mate a Cadillac with an atomic submarine!
Principal filming of the movie and the TV series primarily used three Seaview models: a 17 ft. model (usually - though not exclusively - used for surface shots), an 8.5 ft. model (most frequently seen in underwater photography) and a 4 ft. model (for distance shots). The cost for these models was over $200,000 (in 1961). In addition to these, a number of 2ft Seaview miniatures were also created. A series of miniatures for the diving bell, mini-sub, flying sub, enemy subs, and even a desktop-display model of the Seaview were developed for the movie and TV series.
Figure 4: (1975/76) A close-up of the nose of the 17 ft. studio model of the Seaview. Note the lack of frames around the windows, which were present in the smaller models. Also, the light housing and the fins protrude forward more in this model than in the smaller versions. I took this photograph sometime in 1975/76 while the model was on display at Planes of Fame and Cars of the Stars in Buena Park, California. |
Earlier versions of this website described the largest Seaview model as being 18ft. This is a common mistake among Seaview fans (and Fox Studios as well!). However, according the definitive expert on all Seaview matters - Paul Lubliner - this model measured 17ft, 2 inches.
For modelers, the second season of the series was significant. Not only was the series broadcast in color, but Irwin Allen had the Seaview modified significantly, as detailed below. Included in these changes was the addition of a flying submarine, that freed Voyage writers from stories restricted to the immediate location of the Seaview. Purists, of course, typically prefer the original design of the submarine. But I liked its new look, and was particularly excited when I first saw the Flying Sub launching from its bay below the observations nose. Well, I was 12... what can I say?
These modifications were made for the second season:
|
Observation Nose |
The two-deck, eight-window observation nose was replaced by a
single-deck, four-window design. The general shape of the nose was made wider
and more streamlined as well. To make room for the Flying Sub docking bay, the
observation deck was raised. Also, two sonar tear-drop shaped bumps were added to either side of the observation nose, replacing the sonar housing on the upper deck. For the 8 ft. model, frames around the windows were added. This detail is missing from the 18 ft. model (see fig. 5 and 6 below). Internally, the control room was relocated to the rear of the observation room in the nose (they never bothered to explain how the periscope still worked!). This alteration was reflected in the miniatures in that increased detail was added to the observation nose's interior, and improved lighting allowed more of this detail to show. This was a tremendous improvement. |
 |
The Upper Deck and Sail |
Generally, the upper deck was simplified by the
removal of the forward sonar housing. Additional missile hatches were added
to the 17ft model (from 16 to 20). The sail was modified by the removal of the
sail windows on the tower as well as the addition of working running
lights.. On the 17ft Seaview, a motorized rotating radar dish was added. |
|
The Flying Sub |
Discussion about the Flying Sub itself is beyond the scope of this
project (although I have an un-built Monogram Flying Sub kit waiting for me!). But the
changes it required to the Seaview were significant. Essentially the bow was
modified to be more bubble-like in appearance. This was necessary to make room for the
Flying Sub's docking bay. Also, a square hatch with retractable doors was added to
allow the Flying Sub egress.
It should be noted that most of the filming of the launching of the Flying Sub utilized the large 17ft Seaview. Most of these shot were made looking up at the Flying Sub hatch while the Seaview was on the surface. |
|
|
|
|
Figure 5 This is a video capture of the modified Seaview (probably the 8.5 ft. model).
|
|
|
|
|
|
Figure 6: This is a video capture of the modified Seaview's
Flying Sub bay with the hatch open. This scene was used repeatedly, and probably filmed
using the 17 ft. model. The Flying Sub miniature used for docking shots with the large Seaview
was 12" x 12". A 10" x 10" version was used for the 8 ft. Seaview.
|
|
Comparing the different studio models in the photographs on this page, it's easy to see significant difference between them. For example, looking at figures 1 and 3, note how the 17ft model appears more streamlined than both the 8.5ft and 4ft versions. The fins on its stern are longer and straighter in proportion to its total length.
But the most obvious difference can be seen in the nose. The 17ft Seaview has a longer, more streamlined nose than the smaller models. The form of the forward manta fins (especially when viewing the nose straight on) is different. And its observation windows are very unique: they are smooth and square, without any of the rounded framing detail found on its siblings. Note, also, that its nose light is larger in proportion to the fins and the windows, and it protrudes farther out from the forward fins.
For modelers, these differences need to be taken into consideration when thinking about building an "accurate" model of the Seaview, because this is not quite possible in a single model..
 Figure 7 |
 Figure 8 |
Subtle differences... Figures 7, 9 and 11 (left) are the nose of the 8 foot Seaview studio model (the only known surviving portion of that studio model). Figures 8, 10 and 11 are of the 18 foot model during its restoration by David Merriman Photographs courtesy of Rick Teskey (with some enhancements). |
|
|
 Figure 10 |
|
|
|
 Figure 12 |
Go to the Studio Models - Part 2 page to find out.
|
|
|
