into the tank with powerful fire hoses, and employing a wind machine to disturb the water's surface. For sequences in which live actors are seen against a village in the background, the film employed traveling mattes in the foreground and miniatures in the background. Alex Weldon created the pyrotechnic sequences of Krakatoa erupting and, eventually, exploding. Scenes of the volcano erupting in the distance were created using a split screen, with real footage of the ocean in the lower part of the frame and a flopped volcano miniature reflection added above it in an optical printer. The visual effects, relying entirely on in-camera model work, are still impressive today and considered an immense achievement by 1969 standards, enough so for it to be nominated for the Academy Award for Best Visual Effects. It lost to Marooned. Lourié himself makes a non-speaking cameo appearance in Krakatoa, East of Java, portraying a lighthouse keeper on the coast of Java who observes Krakatoa's final, cataclysmic explosion and enters the lighthouse to send news of it by telegraph. Yordan's departure In addition to its challenging special effects, the makers of Krakatoa, East of Java encountered various difficulties during the film's production. Producer Philip Yordan dropped out of the production after its special effects had already been shot, and a new associate producer came on board who commissioned a new script. These changes in leadership led to conceptual changes that created some inconsistency in tone and odd moments in the finished film. While apparently conceiving Krakatoa, East of Java overall as a family-friendly adventure story, the producers also opted to attract a more adult audience by including some sordid and racy elements: the tortured relationship between Connerly and Charley and Laura's extramarital affair with Hanson, as well as a striptease Charley performs for Connerly in their state room. At other times, the film's soundtrack is clumsily incorporated into the narrative: while performing her striptease, Charley sings a rendition of "A Nice Old-Fashioned Girl" that would be appropriate in a musical but seems strangely out of place in an adventure or disaster film, and the vocal version of the film's romantic theme song "East of Java" incongruously plays during scenes of filthy prisoners shuffling into the Batavia Queens hold and sweating sailors performing the labor necessary to get the ship out to sea as she begins her voyage from Anjer. Kowalski said "We had more than