The late Michael Anderson directed two films of particular note — Around The World in 80 Days (’56) and Logan’s Run (’76). Both were successful in their time (Around The World cost $6 million to make but earned $42 million worldwide, or the 2018 equivalent of $378 million) but both are regarded as meh-level today.

Anderson was a fine, get-it-done craftsman but nothing he directed really stands out today except, perhaps, for The Quiller Memorandum (’66). He also directed Shake Hands with the Devil (’59). The Wreck of the Mary Deare (’59). All the Fine Young Cannibals (’60), The Naked Edge (’61) and The Shoes of the Fisherman (’68).

The below clip from Around The World shows you what a stodgy and elephantine thing it was visually. It was a pompous travelogue flick that was sold as a classy reserved-seat event, and projected in 30-frame-per-second Todd AO.

Apparently true anecdote: Producer Mike Todd forbade the selling of popcorn during reserved-seat engagements.

Around The World played for close to two and half years straight — October ’56 to early ’59 –at Manhattan’s Rivoli Theatre. It played for 94 weeks straight at San Francisco’s Coronet Theatre, from 12.26.56 until 10.19.58. In 1959 it opened wide in 35mm widescreen. It won the Best Picture Oscar because it was financially successful, and because of all the pomp and braggadocio.

Around The World was is the second Todd-AO production shot at 24 fps (35mm general release) and 30 fps (70mm roadshow). Both versions were shot on 65mm negative with slightly weird Todd-AO lenses. IMDB: “Occasionally the two cameras operated side-by-side, filming the same take simultaneously; other times the same camera was used with the speed changed for the second take. In some non-dialogue scenes, the same shot was used. The 35mm version is presented in conventional 2:1 squeeze anamorphic process; the 70mm version is presented in Todd-AO.”