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Cast

David Niven
as Phileas Fogg

Cantinflas
as Passepartout

Shirley MacLaine
as Princess Aouda

Robert Newton
as Insp. Fix

Charles Boyer
as Monsieur Casse

Joe E. Brown
as Station Master

John Carradine
as Col. Proctor Stamp

Charles Coburn
as Clerk

Ronald Colman
as Railway Official

Martine Carol
as Tourist

Melville Cooper
as Steward

Noel Coward
as Hesketh-Baggott

Finlay Currie
as Whist Partner

Reginald Denny
as Police Chief

Andy Devine
as First Mate

Marlene Dietrich
as Hostess

Luis Miguel Dominguin
as Bullfighter

Fernandel
as Coachman

Hermione Gingold
as Sporting Lady

Jose Greco
as Dancer

John Gielgud
as Foster

Cedric Hardwicke
as Sir Francis Gromarty

Trevor Howard
as Falletin

Glynis Johns
as Companion

Buster Keaton
as Conductor

Evelyn Keyes
as Flirt

Beatrice Lillie
as Revivalist

Peter Lorre
as Steward

Edmund Lowe
as Engineer

Victor McLaglen
as Helmsman

Tim Mccoy
as Commander

Mike Mazurki
as Character

John Mills
as Cabby

Alan Mowbray
as Consul

Robert Morley
as Ralph

Jack Oakie
as Captain of S.S. Henrietta

George Raft
as Bouncer at Barbary Coast Saloon

Gilbert Roland
as Achmed Abdullah

Cesar Romero
as Henchman

Frank Sinatra
as Saloon Pianist

Red Skelton
as Drunk

Ronald Squire
as Club Member

A.E. Matthews
as Club Member

Basil Sydney
as Club Member

Ava Gardner
as Spectator

Harcourt Williams
as Hinshaw

Edward R. Murrow
as Narrator, the prologue narrator

Richard Wattis

Ronald Adam

Richard Aherne

Philip Ahn

Frank Baker

John Benson

Theona Bryant

Robert Cabal

Patrick Cargill

Fred Cavens

Campbell Cotts

Ashley Cowan

Roy Darmour

Anna de Linsky

Amapola Del Vando

Leslie Denison

Carli Elinor

Walter Fitzgerald

Frances Fong

Raoul Freeman

Tommy Fujiwara

Cameron Hall

Chuck Hamilton

Chester Hayes

Roddy Hughes

Paul King

Walter Kingsford

Frederick Leister

Weaver Levy

Richard Loo

Manuel López

Keye Luke

Casey MacGregor
as Engineer

Maria Monay

Jack Mulhall

Robert Okazaki

Manuel Paris

Satini Puailoa

George Russell

Bill Shine

Bhogwan Singh

Philip Van Zandt

Dick Wessel
as Train fireman

Robert Whitney

Kathryn Wilson

Arthur E. Gould-Porter

Max Reid
as (uncredited) extra

Laura Lamb

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Critic Reviews for Around the World in 80 Days

Audience Reviews for Around the World in 80 Days

• Aug 20, 2014

  Before "Logan's Run", Michael Anderson presented us "Fogg's Run"! This guy might can take only 80 days to make it around the world, but it takes a couple more than that to watch him do so. No, it takes "way" more days than that, because the total time taken up by the Edward R. Murrow-hosted prologue that has the audacity to show footage from [u]another movie[/u] ("A Trip to the Moon", if anyone's vaguely interested), and the animated credits sequence at the end, runs about 80 days, or at least it probably felt like it did at a time when they didn't even have ending credits sequences. Yeah, if you're going to be ambitious enough to employ Saul Bass to make some cartoon for you, even if you just use him at the end of your movie, he's going to need to have his time to shine, so maybe it's a good thing that this film is ultimately over two-and-a-half hours long. There better be something to justify that length, because although this film is plenty adventurous, it isn't exactly the most dramatically sweeping epic to take home Best Picture. I don't know how much depth you can get out of a film that is based on a Jules Verne novel... or features an extensive cartoon sequence by the guy whose other major globe design was for AT&T. Well, at least the film a whole lot of fun, even if it does take its time to work its way down a path that isn't even especially original. The film has refreshing touches, but they just shine a light on the conventional aspects which render the final product predictable, and to make matters all the more aggravating, a lot of the tropes are taken from cheesy formulas. The film is not as corny as I feared it would be, thanks to all of the wit, which can still do only so much to dance around the cornball bits, even within characterization that, even in the context of this fluffy pseudo-fantasy flick, can be a little hard to buy into, limiting engagement value which is further shaken by questionable structuring. As I said, this film is simply too long, with momentum being all but completely lost once the film finds itself running into moments of sheer filler, if not overtly extensive observations of the lavish settings which force a sense of immersion, and dilute a sense of progression, though perhaps not as much as the overdrawn dedication toward each segment of this episodic adventure. I reckon the episodicity is more excusable than the many moments of playing Cantinflas' conceptually secondary lead Passepartout character over David Niven's Phileas Fogg lead, but it's still detrimental to focal consistency in this epic which thrives on its episodic shenanigans, seeing as how it doesn't have much conflict to focus on. This film is plenty well-done, despite the aforementioned issues, so the final product could have rewarded if it wasn't so superficial, even in concept, following an ultimately inconsequential story that doesn't have much value beyond the entertainment sort. It's ultimately natural shortcomings which hold the film back, but they certainly make, say, the lengthiness all the more problematic, driving the underwhelming final product as about as challenging as it is lively. Still, the point is that the film is a lot of fun, even with its superficiality, offering scope, charm and even aesthetic value. Victor Young's Oscar-winning score is far from original, but it's closer to outstanding, with a beautiful whimsy and sweep, not unlike cinematography by Lionel Lindon which is lush and grand in scope, capturing the diverse environments of this adventurous opus beautifully. To be fair, the locations of this film are beautiful by on their own to begin with, as this film explores distinguished culture after distinguished culture, immersing you with its tastes, especially when it enhances the sets with pieces from James W. Sullivan art direction that further capture a sense of dynamicity. Really, the narrative itself is dynamic, not having enough depth or consistency to its layers for an often aimless runtime of around two hours and three quarters to feel justified, but still establishing a lot of potential for range as a cosmopolitan adventure epic. At the very least, there's a potential for entertainment value that is done about as much justice as anything, with director Michael Anderson keeping style and scene structuring tight enough to keep a sense of pacing a whole lot sleeker than the plotting's momentum. Anderson also has a knack for getting across-the-board decent performances, as this cast is full of colorful performances, the most colorful of which being by the leads, with David Niven being charismatic as a visionary and somewhat obsessive adventurer, while Cantinflas, despite having some issues with molding his Mexican accent into a French one, - ...especially during the scenes in which he speaks Spanish - is almost iconically charming as a good-hearted and colorful second-hand adventurer who particularly falls victim to shenanigans. It helps that these leads have plenty of delightful material to work with, because even though James Poe's, John Farrow's and S. J. Perelman's script gets a little excessive and formulaic to be working with such superficial subject matter, it delivers on sharp humor that often rings with moments of hilarity that stand true today, and mark heights in a cleverness that is more recurrently applied to the crafting of dynamic, colorful and altogether memorable set pieces. I've said it time and again, and I once again say that this film is a lot of fun, trying your patience, sure, and not having that much meat to begin with, but still keeping you entertained enough throughout its sprawling course to at least border on rewarding. When the trip is done, among the many tropes in this film is cheesy occasions, while excessiveness leads to unevenness to the episodic telling of a story that isn't even all that meaty to begin with, having enough superficiality to drive the final product shy of rewarding, but not enough to prevent grand scoring and cinematography, immersive locations and art direction, colorful direction and performances, and a thoroughly clever script from securing Michael Anderson's "Around the World in 80 Days" as a thoroughly fun, if somewhat superficial epic. 2.75/5 - Decent
  Cameron J Super Reviewer
• Sep 19, 2013

  'Around the World in Eighty Days' is a curious disaster. Its lavish production design, expensive sets and celebrity cameos are used to disguise its shallowness, unevenness and dated British humor, but they don't. Maybe in 1956 they did, but not today. It works in small bits, but not as whole. As a side note, one of the most peculiar things about it is how Cantinflas won the Best Actor - Comedy/Musical award at the Golden Globes while the film itself won the Best Motion Picture - Drama award. No one ever brings that up and it just doesn't make a lick of sense.
  Stephen E Super Reviewer
• Nov 14, 2011

  How this won Best Picture (beating out Giant, Friendly Persuasion, The Ten Commandments, and The King and I, and The Searchers (which wasn't even nominated) is beyond me. This is a big, epic adaptation of the classic Jules Verne story of an archetypical Englishman who makes a bet he can travel across the entire world in only 80 days. As an event, sure, yeah, this was probably quite a fun spectacle to see back in 1956. Today though, this is just an overlong, kinda boring cameo fest with rather blah acting, and little sense of real adventure and excitement. I guess for people who at the time weren't used to seeing exotic places were wowed by what this film offers, but today it's just an unspectacular and dated travelogue. Don't get me wrong, there are some things I liked. The music is decent, if a little repetitive, the end title credit sequence by Saul Bass is really cool, some of the cameos are fun (SInatra, Carradine, Keaton, Dietrich), and Cantinflas is admittedly an absolute scene stealing joyt to watch, but Niven didn't stand out for me as a wonderful lead, and Shirely MacLaine ,though I like her and understood that she did this film near the beginning of her career, really feels out of place. The cinematography is quite excellent though, and the locations do look nice (though idealized), but overall, this is just another one of those Best Picture winners that really didn't deserve it.
  Chris W Super Reviewer
• Dec 05, 2010

  Around the World in 80 Days is a 1956 adventure film based on the Jules Verne novel. The film won multiple Academy Awards, including Best Picture. Around 1872, an English gentleman Phileas Fogg (David Niven) claims he can circumnavigate the world in eighty days. He makes a £20,000 wager (equal to £1,324,289 today) with several skeptical fellow members of the Reform Club, that he can arrive back within 80 days before exactly 8:45 pm. Very funny, with a lot of special appearances, like Frank Sinatra, Marlene Dietrich and Buster Keaton.
  Andre T Super Reviewer

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