but only four appear in the interior shots showing the lower level Observation Room (the four upper windows are implied to be out of frame, at the top of the Observation Room). The lower hull also has an exterior shark-like bow flare, and the stern has 1961 Cadillac tail-fins. Seaview is propelled by a water-jet system generally similar to the magnetohydrodynamic system employed by the Red October in The Hunt for Red October, though no details are provided in the film. In the film, the USOS Seaview (United States Oceanographic Survey) is under the authority of Nelson and the Bureau of Marine Exploration rather than the U.S. Navy. The novel mentions the bureau as being part of the U.S. Department of Science. The crew wears World War II U.S. Army tropical khaki dress uniforms with naval rank insignia on the sleeves, rather than U.S. Navy service dress khaki with shoulder boards. The officers' working uniforms are US Army khaki long with epaulets, black tie, and lapel insignia; however, unlike the U.S. Navy, the Marine Exploration insignia, a specialist insignia, is worn on the right collar point and rank insignia is worn on the left, the reverse of U.S. Navy practice. The crew's working uniform is the U.S. Navy period-correct chambray shirt and dungaree uniform, with the white "dixie cup" cap. Chief petty officers wear the Army khaki uniform with US Navy style chief's rank (less the Navy "crow" on top of the rocker) on both sleeves. The effect is that of government service, but not necessarily military service. Production The film was part of an upswing in science fiction and fantasy films of the era, including adaptations of Jules Verne's and H. G. Wells' works. The film marked Walter Pidgeon's return to filmmaking after several years working in the theater. The role of Captain Crane was originally offered to David Hedison who played the role in the 1964 television series of the same name. Hedison turned the film down after completing Allen's The Lost World (1960) saying that he did not like the script. Set designer Herman Blumenthal did not approach the Navy to do research; he relied solely on pictures of naval vessels in the media. The theatrical release poster shown above is one of four posters that were produced to promote the film. Each one has different wording and slightly different artwork, and each one promotes the film