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The weakest element is the complete absence of any female character (unlike the American film, which added a love interest). This gives the German version a stark, all-male, almost claustrophobic dynamic, reinforcing its identity as a pure “boys’ adventure” in the tradition of Karl May. Upon its release in West German cinemas in October 1959, Die Reise zum Mittelpunkt der Erde was met with mixed-to-poor reviews. Critics called the special effects “primitive” and the pacing “lethargic.” Audiences, having seen the trailers for the American version (which opened in Germany three months later), largely stayed away. The film vanished quickly, playing out its life on television reruns (ZDF aired it twice in the 1960s) and on obscure home video labels.
Accompanied by his skeptical nephew Axel (Alexander Engel) and the stoic Icelandic guide Hans (Heinz Eckner), Lidenbrock descends into the volcanic shaft. The film’s first act is surprisingly faithful: the descent through narrow chimneys, the loss of water supplies, and the discovery of the “Hansbach” underground river. die reise zum mittelpunkt der erde ganzer film deutsch 1959
Unlike the American version, which boasted CinemaScope and Technicolor, Genschow’s film was shot in black and white (Agfacolor was too expensive) and aimed squarely at a domestic German family audience. It was produced by Berlin’s Alfa-Film, and its entire budget would have barely covered the catering for the Hollywood production. The film adheres broadly to Verne’s 1864 novel but compresses and simplifies it for younger viewers. The story begins in Hamburg, where the brilliant but eccentric Professor Otto Lidenbrock (played by Genschow himself) discovers a cryptic runic manuscript from the 16th-century Icelandic alchemist Arne Saknussemm. The message claims that whoever descends into the crater of Snæfellsjökull volcano will reach the center of the earth. The weakest element is the complete absence of
