fantastic voyage voyager

Le voyage fantastique

Titre original: fantastic voyage, regarder maintenant.

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Pendant la Guerre froide, les Etats-Unis et l'Union soviétique s'affrontent sur le plan scientifique. Le chercheur Jan Benes découvre une méthode permettant de miniaturiser les objets pour un temps indéfini mais ce dernier est victime d'un attentat en voulant passer à l'ouest du rideau de fer. Afin de le sauver du coma dans lequel il est plongé, 5 scientifiques américains embarquent d'un sous-marin miniaturisé et voyagent à l'intérieur du corps de Benes pour le soigner de l'intérieur.

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Le Voyage fantastique

(fantastic voyage).

Jan Benes, un scientifique éminent, détenteur de quelques secrets stratégiques de très haute importance, doit être exfiltré d’Europe de l’Est afin d’aider les Américains dans leurs recherches. Mais la mission, dirigée par l’agent de la CIA Grant tourne au désastre lors d’un assaut ennemi et le savant se retrouve grièvement blessé au cerveau. Le temps joue contre lui, et seule une opération chirurgicale urgente et d’une extrême précision peut lui sauver la vie. L’ordre est donné de procéder à cette intervention en utilisant une technologie ultrasecrète et révolutionnaire de miniaturisation, qui consiste à injecter dans le corps du malade plusieurs membres d’une expédition scientifique réduits à la taille de microbes. Piloté par Grant, un sous-marin miniaturisé embarque alors une équipe de médecins qui ont pour objectif d’atteindre le cerveau afin de le réparer. Bénéficiant d’à peine une heure pour agir, ces scientifiques aventuriers vont devoir affronter des obstacles et des "ennemis" d’une nature totalement inédite et terriblement dangereuse, ainsi qu’une menace interne qui se fait peu à peu jour...

Analyse et critique

Dans les années 60, alors que les films de science-fiction connaissent un essoufflement créatif (juste avant que Stanley Kubrick ne révolutionne et revivifie le genre avec 2001 ), d’autres territoires d’exploration intéressent les studios et les férus d’aventures fabuleuses. C’est à cette époque que la 20th Century Fox se lance dans un pari artistique et technologique plutôt original en faisant du corps humain un espace de tous les possibles et un terrain propice aux élucubrations les plus fantastiques. Encore aujourd’hui, à notre ère du tout-numérique aux frontières toujours plus incertaines, un film tel que ce Voyage fantastique fascine toujours. Car cette production à grand spectacle située dans un univers microscopique alors inédit, au-delà de ses prouesses techniques propres à cette décennie, est guidée par un esprit à la fois naïf et audacieux dans la lignée des œuvres signés par Jules Verne ou H.G. Wells.

Bien sûr, l’argument scénaristique dans Fantastic Voyage est à oublier assez vite puisqu’il ne sert que de prétexte au déclenchement de cette odyssée sous-marine d’un genre nouveau. Ce sont les paysages à la fois oniriques et en quête de réalisme qui retiennent notre attention. Pour diriger cette entreprise tant farfelue que proprement extraordinaire, le studio a misé sur l’un des cinéastes les plus concernés à la fois par les défis technologiques et par l’aventure humaine dans ce qu’elle a de plus noble. Richard Fleischer, grand maître du Cinémascope et réalisateur brillant des formidables 20 000 lieues sous les mers et Vikings , se révèle l’homme de la situation. Les plans et la scénographie qu’il compose, avec l’aide d’une direction artistique ambitieuse, sont d’une beauté fulgurante et parviennent à sublimer ces "paysages anatomiques" alors méconnus des spectateurs. Et sans jamais se départir de cet esprit de découverte propre aux grands explorateurs, Fleischer prend son temps et donne au récit - sur un plan visuel - un rythme lent et presque solennel en phase avec le jeu empreint de gravité des comédiens. A côté d’acteurs sûrs et confirmés comme Stephen Boyd, Donald Pleasence ou Edmond O’Brien, la Fox essaie de capitaliser sur Raquel Welch, brune brûlante et plantureuse, enserrée dans sa combinaison moulante, qui pose devant la caméra de Fleischer la première pierre d’une carrière de sex-symbol. Si son talent de comédienne reste encore à prouver, Welch possède en revanche de nombreux atouts pour flatter le regard. Avant d’affronter des dinosaures dans le kitschissime Un million d’années avant J.C. , la voici qui se bat contre des anticorps et des microorganismes tous plus mortels les uns que les autres.

Un autre élément pourrait également expliquer l’investissement du cinéaste dans ce projet. Fleischer, fasciné par l’observation clinique du mal et ses manifestations les plus sombres et souterraines (cf. Le Génie du mal , L’Etrangleur de Boston ou L’Etrangleur de la Place Rillington ), a ici la possibilité de s’aventurer dans l’intimité la plus profonde du corps humains et de conférer à ses réactions naturelles la sensation d’un danger permanent. D’autant qu’un autre menace invisible est à l’œuvre, puisque l’équipée est également à la merci d’un saboteur caché dans ses rangs. Le Voyage fantastique est ainsi un magnifique périple, qui réussit à captiver autant par son récit paranoïaque que par sa beauté étrange - qui confine à une certaine poésie visuelle, et fait donc oublier ses quelques défauts. Vingt ans après, la société de production Amblin mettra en chantier une nouvelle variation sur ce thème avec L’Aventure intérieure et, appuyée par des effets spéciaux bien plus réalistes, troquera l’onirisme, le sérieux et la solennité imprimés par Fleischer contre l’humour et l’action trépidante mis en scène par le facétieux Joe Dante. Toutefois, au-delà de représenter une date dans l’histoire du cinéma de science-fiction, Le Voyage fantastique garde encore de nos jours tout son pouvoir d’attraction.

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Date de sortie : 20 octobre 2010

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Fantastic Voyage

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Rent Fantastic Voyage on Fandango at Home, Prime Video, or buy it on Fandango at Home, Prime Video.

What to Know

The special effects may be a bit dated today, but Fantastic Voyage still holds up well as an imaginative journey into the human body.

Critics Reviews

Audience reviews, cast & crew.

Richard Fleischer

Stephen Boyd

Raquel Welch

Cora Peterson

Edmond O'Brien

General Carter

Donald Pleasence

Dr. Michaels

Arthur O'Connell

Colonel Donald Reid

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Fantastic Voyage

• When a blood clot renders a scientist comatose, a submarine and its crew are shrunk and injected into his bloodstream in order to save him.
• Scientist Jan Benes (Jean Del Val), who knows the secret to keeping soldiers shrunken for an indefinite period, escapes from behind the Iron Curtain with the help of C.I.A. Agent Grant (Stephen Boyd). While being transferred, their motorcade is attacked. Benes strikes his head, causing a blood clot to form in his brain. Grant is ordered to accompany a group of scientists as they are miniaturized. They have one hour to get to Benes' brain, remove the clot, and get out. — Brian Washington <[email protected]>
• The battle being waged by the super powers is who can perfect miniaturization. Now both sides are stumped as to how to control it. So far, they can miniaturize anything, but up to sixty minutes only. Scientist Jan Benes (Jean Del Val), who is believed to have solved it, was about to give it to the Americans when an attempt is made on his life. Fortunately, he is not dead, but he is in a coma and any conventional means to operate on him could be fatal. So a plan is made to miniaturize a vessel, send a team of doctors into his body, and that they will go to the damaged area and fix it. The problem is that there is a report that someone on the team could be working for the other side. So they send C.I.A. Agent Grant (Stephen Boyd) to make sure everything goes okay. — [email protected]
• Brilliant scientist Jan Benes (Jean Del Val) develops a way to shrink humans and other objects for brief periods of time. He, who is working in Communist Russia, is transported by the C.I.A. to America, but is attacked en route. In order to save him, who has developed a blood clot in his brain, a team of Americans in a nuclear submarine is shrunk and injected into his body. They have sixty minutes to fix the clot and get out before the miniaturization wears off. — Jwelch5742
• A commercial airliner lands at JFK Airport in New York. A Secret Serviceman (Ken Scott), backed by a large Army contingent, greets the plane. After it taxis to a stop, Lieutenant Charles Grant USN (Stephen Boyd) steps out onto a mobile boarding ramp, verifies the Secret Service escort, and then signals to the other passenger, Jan Benes (Jean Del Val), to deplane with him. Benes walks down and gets into the Secret Service car, but not before warmly shaking Grant's hand one last time. But as the motorcade enters a run-down section of New York, a car hurtles out of an alley and broadsides Benes' car. Hastily the Secret Service transfer Benes to another car, which then must make a quick escape as the Secret Service contingent fights a gun battle with several other assailants in the surrounding buildings. Benes is taken to the underground headquarters of the Combined Miniature Deterrent Forces (CMDF) and given a full physical examination, including an EEG. The results are dire: he has suffered a stroke on the left side, in an inoperable spot. The doctors induce a coma so that his brain will not damage itself, while they decide what to do. The original Secret Service man then picks up Grant and delivers him to an alley, instructing him to stay in the car and wait. Then the car, with Grant alone in it, descends to an underground complex. A small scooter bearing the CMDF logo, which he does not recognize, picks him up and delivers him to the Medical Section. There, Grant meets CMDF's commandant, Lieutenant General Alan Carter USA (Edmund O'Brien). General Carter first shows him Benes, in a coma and on a litter. Then he introduces him to the surgeon, Dr. Peter Duval (Arthur Kennedy), and his assistant Cora Peterson (Raquel Welch), who will operate on Benes, and also to Dr. "Mike" Michaels (Donald Pleasence), who is somehow expected to watch Duval to make sure that Duval does not try to kill his patient while operating. Then Carter explains what CMDF means, and about the miniaturization technique that is at the heart of it all. The problem: the USA (and the USSR) can miniaturize any object, to any size, but cannot hold an object miniaturized for more than 60 minutes. Benes knows how to extend the time, and Grant is the one who brought Benes out when he sought to defect. Now Carter reveals why Grant is there: CMDF will reduce a small submarine to microscopic size, and deliver Duval, Miss Peterson, Michaels--and Grant--into Benes' body, to operate on Benes from the inside. Grant hates the idea. Worse yet, CMDF Medical Officer Col. Donald Reid (Arthur O'Connell) does not want a woman to go along on such a hazardous mission. Duval insists that he will have Cora or no one at his side. Grant also meets Captain Wilfrid Owens (William Redfield), designer and pilot of the submarine. The plan: reduce the submarine with all aboard and inject it into the left carotid artery. They will follow this to the site of the stroke, where Dr. Duval will use a hand-held laser to dissolve the clot. Then they travel back along the left internal jugular to the base of the neck, where they will be removed. The problem: if they stay in longer than 60 minutes, they will grow to a size that the immune system will notice, and Benes' own defenses will mobilize to destroy them. Grant barely has time to take in a briefing before Michaels leads him, Duval, Cora, and Owens to a "sterilization room." There they dress in white SCUBA wetsuits, with white overalls over this, all bearing the CMDF logo, and pass through a corridor that irradiates them gently with UVA to kill any germs on their bodies. As Carter and Reid make their preparations, the crew then climbs aboard their submarine (USS Proteus, U-91035) and make preparations for getting under way. Owens and Grant install a tiny reactor containing a microscopic radioactive particle, that will power the sub once they are shrunk. (Radioactive material cannot miniaturize.) Grant tests the ship's wireless, which will be his station. Owens tells Michaels how he will be able to read Michaels' details charts of Benes' circulatory and lymphatic systems. Cora mounts and tests the laser, while also teasing Grant about his still-obvious fear of being "shrunk." (Grant has, throughout, tried to cover his fear with bad jokes and worse innuendo, and doesn't fool Cora for one second.) Cora also reveals that she is a five-year veteran of CMDF and has worked with Duval all that time. Carter radios them to "prepare for miniaturization." So the crew pull out their seats, strap in, and settle in. Everything goes well, except for the time that Michaels, suffering an attack of claustrophobia, tries to get out through the topside hatch (after they are already submerged in an outsized hypodermic syringe), forcing Duval and Grant to restrain him and calm him down. (Duval and Grant have taken their first shot at working together, as they cooperate with Owens to accomplish the submersion.) With the second miniaturization step, the Proteus can now generate its own power. Eventually, the surgical team injects them into the carotid artery. And then the problems begin. At first the view is fascinating, But then Proteus drifts into a strong current, then into a whirlpool. It catches the crew unaware, so that though Michaels and Duval can regain their seats, Grant and Cora cannot. Michaels' shoulder belts pop, and Duval struggles to hold him in. Cora is dragged into a bulkhead, and only Grant's iron grip on her stops her from breaking her neck. Finally the Proteus comes out of the whirlpool--but now the blood cells surrounding them are blue, not the red they remembered. They realize (as do Carter and Reid, watching from outside) that Proteus has gone through an arterio-venous fistula from the carotid artery into the jugular vein. Now they are headed toward the superior vena cava, and will go through the heart--which will smash them. Michaels urges immediate removal, but the authorities, under Carter's leadership, have another idea: to put Benes into cardiac arrest and let Proteus swim through as fast as her drive can propel her. This they do, and Proteus dives into the right ventricle and goes out through the pulmonic valve, with three seconds to spare. Now they head into the lungs, where they observe oxygenation of the blue corpuscles that surround them. Just then, Proteus develops an air leak, which Owens stops, but only after Proteus has lost so much air that she cannot continue. Grant offers a solution: he will take the boat's snorkel and enter an alveolus to take the air that Benes breathes. Owens insists that everyone else aboard except himself join Grant in the dive, for safety reasons. As they put on their SCUBA gear, Grant discovers that the laser has broken loose and gotten knocked around. He firmly tells Duval and Cora to wait on testing the laser until after Grant finishes his snorkel operation. Grant succeeds in pulling in the air--but then his safety line snaps and he finds himself sucked into a bronchiole with Benes' next breathe-out. When Benes breathes in again, he luckily finds the original alveolus, after which he races to safety, with Duval strenuously pulling him back out into the bloodstream. Proteus gets back underway, heading into the pleural cavity. During this time, Cora disassembles the laser and discovers a smashed transistor and a broken trigger wire. Grant supplies replacements for both by cannibalizing the wireless and sending one last message, to the consternation of Carter and Reid. The transistor is of a good size, but the trigger wire is far too large--but Duval believes that he can scrape it down. Grant also takes time to discuss with Michaels a hard reality: someone has tried to sabotage the mission at least twice. Grant knows that Cora had indeed fastened the laser securely--so someone must have unfastened it, just as someone tampered with Grant's safety line. Michaels protests that he cannot think so ill of Duval, the logical suspect. Proteus enters the lymphatic system and passes through a lymph node. The boat blunders into several reticular fibers, and Owens warns that if they keep running into the seaweed-like fibers, they'll block the water jet intakes, and Proteus' engines will overheat. The crew also observe a stray bacterium, and antibodies attacking it and squeezing it to death. Grant is frustrated with the delay and the slow progress. Duval then suggests going to the inner ear--a very hazardous path, because the slightest noise will kill them, and they cannot warn the operating team. Grant expresses confidence that the surgical team, once they see where they are headed, will keep the required silence. Michaels is still dubious, but reluctantly agrees to navigate to Benes' left ear. Inside the ear, Owens must stop--the engines have overheated. Grant, Cora, and Michaels make another dive to pull the reticular fibers out of the intakes. Topside, a nurse (Shelby Grant) gets the idea of plugging Benes' ear with cotton--but then drops a pair of scissors to the floor. With the result that Proteus and her crew are badly shaken up. Cora gets the worst of it--she is carried into the Organ of Corti and finds herself trapped among the Cells of Hensen. She cries out for help, and Michaels and Grant race to her rescue--but Grant orders Michaels back aboard Proteus when he cannot go any further. Grant frees Cora from the hair cells, and they race back to the airlock--but as they wait for it to re-flood (after Michaels used it), antibodies attack Cora and fasten onto her. Grant hastily guides her into the airlock, closes the hatch--and then raps on the door when Cora makes plain that she simply cannot breathe. Michaels, Duval, and Owens open the airlock before it is fully evacuated, pull Cora out, and, with Grant's help, start pulling the antibody molecules off her body. Soon they start crystallizing and come off easily, so Cora is saved. Proteus gets back under way, passes through the middle ear, and then passes through the endolymphatic duct back into the vascular system. Now they penetrate into the brain and reach the clot. During that passage, Michaels and Duval argue about whether Duval, having repaired the laser, should test it. Duval insists on using the laser as-is, not wanting to strain it. Eventually they reach the clot. But with so little time remaining, Michaels wants Owens to take Proteus back out. But now Grant shuts down the power and insists that Duval and Cora go out and operate. Michaels strenously objects, but Grant firmly overrides him, saying that Duval simply does not fit the profile of a fanatic. Now Grant makes his near-fatal mistake: instead of remaining aboard, he goes out to see if he can "help" Duval and Cora. Duval manages to clear the clot, at least enough to get the blood flowing again and relieve the pressure on a key nerve. But aboard Proteus, Michaels knocks out Owens, and then restores power, takes the helm, and sends Proteus on a collision course for the nerve. Grant asks for the laser, and fires a wide-angle beam at Proteus, raking her port side and sending her away from the nerve and into several nearby dendrites. White corpuscles respond immediately, so Grant slips back aboard, through the tear in the hull, to rescue Michaels and Owens if he can. Owens is only now regaining consciousness, so Grant tells him to suit up as fast as he can. But when he tries to untangle Michaels from the wrecked helm station, a white cell settles over the helmsman's dome, breaks through, and suffocates Michaels. Grant and Owens then abandon ship, before the white corpuscles crush it. Duval keeps the white cells at bay long enough for Grant and Owens to escape, before the laser quits for good. Topside, Carter and Reid reluctantly order the removal of Proteus, because time has run out. Inside Benes' body, the four remaining crew swim as fast as they can along the optic nerve, toward Benes' left eye. Carter allows the attending surgeon to make preparations for a trephination procedure--and then deduces what the crew might do and stops the attending in mid-motion. Reid, too, realizes how they crew can still escape, and rushes down to the operating room and asks for a large magnifier. Through this, he looks into Benes' left eye, in time to make out four members of the crew swimming in Benes' tears. He calls for a microscope slide and uses it to lift out a teardrop, with the crew inside. Then he asks the staff to open the door, and as quickly as he dares, walks out into the miniaturization room and sets the slide gently down on the center hexagon. The crew then grows to full size, and the rest of the staff warmly greet them and assure them that the operation is a complete success. NOTE: The film, as it played, had a number of scientific inaccuracies and plot holes. Isaac Asimov, who wrote the novelization from the final shooting script, repaired these and at least tried to produce a scientifically consistent narrative. The key differences are: * The time limit on miniaturization is not a uniform sixty minutes. Instead, the rule is that energy of miniaturization (which is a function of the proportion of normal size to reduced size), when multiplied by duration of miniaturization, is equal to Planck's constant divided by two times pi. In simpler terms, the Heisenberg Uncertainty Principle governs the maximum time of miniaturization at any given size. Benes' secret is another set of variables that the original pioneering scientists overlooked. The sixty minutes that apply to this narrative are a special case of that model. * Grant's role and authority are broader than as depicted in the film version. In the novel, Grant, not Michaels, has the ultimate authority on policy decisions, and is another brain and pair of hands in an emergency. Cora, sensing right away that the CMDF brass put him on board because they suspect Duval of murderous intent, at first resents him bitterly, and then softens toward him and almost pleads with him to understand Duval's politics, that have caused CMDF to doubt him. Those politics are that the Two Sides in the Cold War ought to share scientific discoveries freely, without regard to strategic sensitivity. But Duval is not the saboteur, a thing Grant comes to deduce by process of elimination. * When Grant makes his first dive with the snorkel into Benes' lungs, Owens uses the on-board miniaturizer that Proteus carries, to reduce the air to a size compatible with Proteus and her crew in their shrunken state. Otherwise, Grant would have been trying to draw in oxygen molecules large enough to see. * When Grant's safety line parts, sending him up the bronchiolar tree, Duval suggests that Owens orient the Proteus to face the alveolar wall and shine the boat's headlight into it. That allows Grant to find the right alveolus again. Otherwise he would have been hopelessly lost. * As Carter and Reid watch Proteus enter the inner ear, they do not use their PA system to announce to the surgical team the hazard against making noise. Instead, Carter writes a note and sends an orderly to walk into the OR in his stockinged feet to hand it to the attending. When, later, he wants to suggest plugging Benes' ears, he sends another note the same way. (The nurse does not take that upon herself, but acts only when she gets Carter's second note. And when the scissors fall, she steps on them so that they won't rattle and thus risk more damage than they might already have caused.) * When Cora falls into the organ of Corti and finds herself wedged among the hair cells, the antibodies take time to "taste" her before they come swarming. Benes' body would never have had antibodies specific to her at the moment of contact. This is still a stretch, because the immune system is now known to take much longer than that to raise antibodies to anything, and through a process that is much more complex than that depicted in film or novel. * When the crew pull Cora back aboard, they only have to give one good tug at one clinging antibody molecule, before realizing that all the antibodies crystallize at once, and all they need do is brush them off. The air on board "hits" the antibodies and denatures them immediately. So the dramatic (and suggestive) grabbing procedure is not necessary. * When Duval and Cora make their dive to attack the clot with the laser, Cora wears her wetsuit inside out, in order not to present a recognizable target to any stray antibodies that might be lurking about. Benes might not have been "immunized" against her before, but he is now. * After clubbing Owens, Michaels, unaccountably, bundles him into a wet suit and drops him out the airlock. Perhaps Michaels takes no chances that Owens might come to himself and try to take his ship back. With the result that Grant's quick rescue operation becomes unnecessary. * After the Proteus crashes into the dendrites, Duval worries that the damage that Michaels has done might start a new clot. This apparently does not happen, but at least Asimov acknowledges the possibility, which the original script does not even talk about. * After the white corpuscles eat the Proteus, Grant knows that they can't just leave her in place. Even when crushed, Proteus will grow to a size to kill Benes. (Michaels also realizes this at the last instant of his life, which is why he bursts out laughing as the white corpuscle collapses the glass dome over his head.) So Grant takes out his dagger and slashes at the white cell to attract its attention and induce it to follow them out. Of course, that releases chemotaxins that bring a swarm of white cells, so the crew must swim for their lives to get out ahead of them. (Furthermore, the medical team topside do not stop tracking Proteus even as they prepare for the trephination procedure. When the monitoring techs realize that Proteus seems to be moving again, Carter stops the preparations. That's when Reid realizes that the crew are using an escape route he did not at first consider.) * The crew, swimming toward the eye, do not drop the laser. Instead, Cora tries to carry the laser out. When Cora inevitably starts flagging, Grant takes the laser and its power pack away from her so that she can swim unencumbered. * Finally, when Col. Reid extracts the crew, he does not try to walk with the slide into the miniaturizer room. Instead, he sets the slide on the operating-room floor where he stands and orders everyone out of the room, including Benes, whom the staff wheel out on his litter. When the crew re-magnify, General Carter takes a quick muster with his eyes and realizes, with a sickening feeling in his gut, that Michaels and the Proteus are both missing. Grant stops him and assures him that the pile of metal fragments next to the crew is what's left of both. The novel has a few more dramatic differences--offering a more detailed explanation of the science of miniaturization, and making more of the professional (or personal) relationships between General Carter and Colonel Reid, between Reid and Michaels, between Grant and Benes on the flight in, between Duval and Cora, and especially between Cora and Grant during and after the trip. (See above.) Grant also has a scene with Carter and Reid in which he acknowledges his mistake in going out on the dive with Duval and Cora, instead of remaining on board after he, in effect, had placed Michaels under arrest. The novel ends with an inspiring scene in which Grant, fully grown once more, pays a visit to Benes, who by now has regained consciousness and can even talk to him. BENES: And now I must remember what I came here to tell. It's a little fuzzy, but it's still all in there. GRANT: You'd be surprised to know what's in you, Professor.

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Voyage fantastique (Le)

Résumé du film.

Dans une base militaire secrète, Grant, agent de la CIA, est chargé d’accompagner une équipe de scientifiques à l’intérieur du corps d’un savant blessé au cerveau, Jan Benes, pour lui sauver la vie. Celui-ci est le seul à connaître la formule permettant de rendre permanente une nouvelle technique de miniaturisation révolutionnaire.

Accompagné du capitaine Owens, du Dr Michaels, du Dr Peter Duval et de son assistante Cora Peterson, Grant subit le processus de miniaturisation à bord du Proteus, un sous-marin fonctionnant à l’énergie nucléaire. La mission, qui doit impérativement durer moins d’une heure, est suivie depuis la base militaire par le général Carter et le colonel Reid.

Au cours de son périple, l’équipage observe l’extraordinaire, comme l’aspect réel des globules dans le sang et le processus d’oxygénation. Il rencontre aussi de nombreuses difficultés techniques : un accident l’oblige à passer par le cœur, un court-circuit le contraint à faire un détour par les poumons pour faire le plein d’oxygène, il doit échapper aux défenses immunitaires… Grant est aussi chargé d’une mission secrète : démasquer le traître qui se cache parmi eux et qui tente de saboter la mission.  

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Fantastic Voyage

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James Cameron Confirms He’s Planning to ‘Go Ahead With’ a ‘Fantastic Voyage’ Remake ‘Very Soon’

By Ben Croll

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Gallic cinephiles gave James Cameron a hero’s welcome at a Paris masterclass on Thursday, ushering the action auteur onstage with a reception so thunderous that it shook the filmmaker’s oft-unflappable public demeanor.

“That’s the record,” he said in between laughs and in a show of uncommon giddiness. “That’s the record for the longest applause I’ve ever had in my life. Thank you. This is a high point of my career!”

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Dreams and Nightmares

While Sigourney Weaver flanked her longtime collaborator at the exhibition’s opening vernissage, “Proxima” director Alice Winocour stepped in to lead the talk. Still, the star actress remained a prime subject of conversation – leading to an endearing connection between the two filmmakers.

After Winocour said that she wrote many of her scripts sitting below a framed photo of Weaver as Ellen Ripley, Cameron revealed he had done the very same, writing “Aliens” for an actress he had yet to meet while taking inspiration from her photo.

And though the sequel’s visual universe built on the designs of H.R. Giger, the incoming director made sure to leave his own mark on the material by introducing the Alien Queen. “I think Giger was a little disappointed that we didn’t hire him,” said Cameron, listing off the various biomechanoid features that made the new villain such chilling addition. “But I had so many ideas about what I could do in that same area.”

“[I remembered a dream] where I went into a dark room with every square inch of the walls and ceiling covered in wasps, and I knew that if I moved or tried to escape, they would attack me dead,” he recalled. “Every horror film must go to the deepest and worst place in the subconscious [because] that’s the point. That’s what you to pay your money for.”

‘Avatar’ and Beyond

Given the event’s reflective and retrospective context, Cameron offered little new information about his three upcoming “Avatar” sequels. However, he reassured the audience that work on Part 3 is coming along for an intended late 2025 release and that the scripts for the subsequent volleys are finished, the designs nearly locked and 3D modeling just about to begin.

As for other pursuits, the filmmaker once again brought up his plans to produce a remake of the 1966 tour-through-the-human-body “ Fantastic Voyage ,” a project Cameron and his partner Jon Landau have toyed with for over a decade.

“We’ve been developing it for a number of years, and we plan to go ahead with it very soon,” Cameron said. “Raquel Welch is not available, but we think we can make a pretty good movie.”

Hope and Dread

Without giving any more specifics, Cameron perhaps offered a thematic clue when describing his appreciation for science fiction as a conduit for both hope and dread.

“Science fiction allows us to imagine futures that can emerge from our present day,” he said. “When ‘Star Wars’ came along, science fiction seemed to suddenly become very upbeat, [all about] entertainment and adventure. But the history has always been about warning, about the misuse of technology and the misuse of science.”

“Who gets to decide what’s good for humanity?” he asked. “Machine intelligence will only be a reflection of us. It’ll be us with all our flaws and all of our potentially evil intentions. Yes, that can be good, but the atomic scientists of the 1930s believed [they would unlock] an infinite power source that would abolish starvation… Instead we got Hiroshima and Nagasaki and the Cold War. This is what concerns me.”

Taste for Risk

Reflecting on a career path that began with schlock before building toward some of the highest grossing – and most expensive – films of all time, Cameron saw a clear throughline in his taste for risk.

“The more established you become, the more you risk losing what you’ve already gained,” he said. “But I also think that the greatest risk you can make is not trying something new and different. There’s a tendency, when the budget gets bigger, to start to go for the lowest common denominator – and you cannot do that.”

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Fantastic Voyage (1966)

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Longtemps dans l’ombre, ces deux destinations anglaises cartonnent désormais

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DÉCRYPTAGE - Boostées par La Chronique des Bridgerton , Bath et Bristol tirent leur épingle du jeu auprès des visiteurs, notamment français.

On pourrait dire qu’elles représentent les deux faces d’une même pièce. 20 kilomètres les séparent. Pourtant, elles ne pourraient être plus différentes. La première se distingue par son charme excentrique et son street art . La seconde, réputée pour ses thermes, a inspiré les plus grands de la littérature, dont Jane Austen, qui en a fait son lieu de résidence pendant plusieurs années. Bristol et Bath, longtemps dans l’ombre de destinations stars comme l’Écosse , semblent désormais tirer leur épingle du jeu chez les touristes. C'est ce que nous confirme Visit West, l'office du tourisme qui représente les villes de Bath, Bristol et leurs alentours. «Nous avons constaté une reprise régulière et encourageante depuis la pandémie, en particulier de la part des visiteurs français» , note Jon Chamberlain, responsable marketing.

Ces derniers arrivent à la deuxième place des visiteurs internationaux, derrière les Américains et devant les Allemands. «Sur la haute saison, qui se déroule entre avril et septembre, nous avons observé un tiers de demandes en plus sur un an» , poursuit Caroline Moreau, directrice d'activité Europe - Afrique pour l'agence de voyages Voyageurs du Monde. «La série Downton Abbey avait déjà permis une mise en lumière sur Bath et Bristol. La Chronique des Bridgerton en rajoute.» Avec la sortie de la 3e saison de la série produite par Shonda Rhimes, disponible sur Netflix depuis ce 16 mai, les deux Anglaises brillent à nouveau dans les conversations. Car Bath, tout comme Bristol, a servi de lieu de tournage.

BATH : VISITE DES LIEUX DE BRIDGERTON

Dynamiques et connectées

Mais la seule popularité du show n’explique pas cette attractivité. Les deux bénéficient d’un nouvel attrait des visiteurs pour l’Angleterre. «Bath a toujours suscité beaucoup d’intérêt chez les visiteurs internationaux» , note Marion Passelegue, agent de voyages pour Evaneos et l'agence High Point Holidays. La petite ville, inscrite au patrimoine mondial de l'Unesco, se découvre à pied. «C’est un lieu romantique, qui dégage une atmosphère singulière. La figure de Jane Austen y est une institution.» Elle peut aussi se targuer d’être très connectée côté transports. Cette aura semble avoir des effets sur Bristol, longtemps en retrait par rapport à sa voisine. «Avant, elle n'était pas très touristique, mais c'est en train de changer» , complète William Armstrong, gérant de l'agence de voyages High Point Holidays.

La ville de Banksy a de quoi séduire, avec son port, son art urbain et le quartier de Clifton (et son célèbre pont suspendu), sans compter son Festival international des montgolfières de Bristol, qui aura lieu du 9 au 11 août cette année. Plus globalement, les deux municipalités se situent au carrefour de plusieurs régions très demandées par les voyageurs : les Cornouailles, le Devon, les Cotswolds , mais aussi le Pays de Galles. Compter également d’1h40 à 2h de train depuis Londres. Côté aérien, Bristol est reliée à la plupart des grandes métropoles françaises, dont Paris, Bordeaux, Lyon et Marseille. La compagnie Ryanair ouvre même des lignes estivales sur des villes secondaires, comme Limoges.

Leur dynamisme est également à noter. «Ce sont deux étapes avec beaucoup de restaurants qui émergent et un bon rapport qualité-prix» , souligne Caroline Moreau, de Voyageurs du Monde. Bristol peut également se targuer d’avoir une scène artistique dynamique, elle qui accueille l’Upfest, le plus grand festival de street art en Europe. Que ce soit de son côté, comme de Bath, il semble y en avoir pour toutes les bourses. «Le panier moyen pour deux nuits se situe entre 400 et 1500 euros, selon l'hébergement et les activités choisis» , présente Caroline Moreau. On conseille souvent un minimum de trois nuits à Bath pour visiter la ville et ses alentours, et de deux nuits à Bristol. Le temps pour les curieux de s’imprégner de leurs atmosphères si singulières.

BRISTOL : VISITE GUIDÉE À PIED

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Portugal : à l’assaut de Tomar, sur les pas des templiers

Fondée par les Templiers au XIIe siècle, Tomar doit sa renommée à son splendide Couvent de l'Ordre du Christ, inscrit au patrimoine de l'UNESCO. Mais cette région fluviale et chargée d'histoire a bien plus à offrir que cette merveille architecturale.

Au Maroc, cinq raisons d'explorer Chefchaouen, l'étoile bleue du Nord

Star d'Instagram pour sa médina chaulée de toutes les nuances de bleu, Chefchaouen mérite davantage qu'un simple arrêt sur image. À deux heures de route de Tanger, cette jolie cité enchâssée dans les montagnes du Rif à 600 mètres d'altitude, invite à une pause hors du temps, mixant culture et nature.

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