Secret of the Steel Town

The most acclaimed name in Czechoslovak cinema adaptations of the works of French novelist Jules Verne has long been that of director Karel Zeman. Consequently, when director Ludvík Ráža and screenwriter Ondřej Vogeltanz were in the mid-1970s seeking a Verne adventure story to adapt, they knew they would be working in the shadow of a stack of great movies already produced. Zeman had by that time drawn on source works from the writer to make Vynález zkázy (The Deadly Invention, 1958), Ukradená vzducholoď (The Stolen Airship, 1966) and Na kometě (On the Comet, 1968). These films utilise a combination of live-action and animation, specifically drawing on the style of the original book illustrations. The motion picture that eventually appeared thanks to the endeavours of Ráža and Vogeltanz, Tajemství Ocelového města (The Secret of the Steel Town, 1978), is based on the 1879 Verne novel The Begum's Fortune. The film adaptation takes a loose approach to the source material, focusing on bringing to life a realistic adventure story. Regarded as one of director Ráža’s strongest motion pictures, Tajemství Ocelového města (The Secret of the Steel Town) tells the story of two distant relatives – the doctor Sarrasin and professor Janus, who both take a very different approach to the fortunes they inherit. While the humanitarian Sarrasin uses his funds to build the prosperous city of Fortuna, the power-hungry Janus funds the construction of Steel City, within which the destitute inhabitants must toil in a huge munitions plant. Sarrasin’s son-in-law, the engineer Zodiak, disguises himself in order to gain the confidence of Janus. With the help of the orphan Viktor, he foils the inventor’s nefarious plans to take over Fortuna. This somewhat schematic, anti-war themed film for young audiences is nonetheless highly successful at bringing to life the gloomy atmosphere of Steel City, supposed to serve as an example of the devastating and exploitative capitalistic system. Cinematographer Jan Němeček helps bring the film’s visuals to life, having previously showed his skills in Kdo chce zabít Jessii? (Who Wants to Kill Jessie?, 1966) and Ať žijí duchové! (Long Live the Ghosts!, 1977). Also utilising his expertise is set designer Vladimír Labský, who built multifunctional interiors on Barrandov’s Stage 6 for this film. After alterations, they were later used in films including Panna a netvor (The Virgin and the Monster, 1978), Deváté srdce (The Ninth Heart, 1979) and Kočičí princ (Cat Prince, 1979).