Irwin Allen – L.T. Hanlon

Television has seen only a few theme songs that have excited viewers and encapsulated the essence of the shows they introduce. Paul Sawtell’s composition for the series “Voyage to the Bottom of the Sea” stands out as a masterstroke, and here’s why.

From the first haunting sonar pings of the main title, listeners are instantly transported to the vast and mysterious realms of the ocean. This isn’t just any ocean but one filled with intrigue, danger, and grandeur. Sawtell’s theme is a siren song, drawing us deep into the depths of the story before the actors even have a chance to say their lines.

But the end credits truly crescendo into something magnificent. With a sweeping dance of deep brass and soaring strings, there’s a feeling of culmination, like returning from an epic voyage. It paints an audioscape of sea monsters, heroic submariners, glimmering treasures, and shadowy threats. The grandeur of these compositions makes one think of oceanic sagas from eras long past.

Unfortunately, the series’ scripts didn’t always rise to the lofty standards set by this stirring music. But Sawtell’s gift to “Voyage to the Bottom of the Sea” is unassailable. While storylines may falter, music can remain timeless, and Sawtell’s theme stands as a testament to this – echoing through the annals of television history as one of the best.

“Land of the Giants” is a classic piece of science-fiction television history. Despite only airing for two seasons between 1968 and 1970, it established a robust presence in the genre. The series remains noteworthy with its thoughtfully blended narrative, ideas, and enduring special effects.

The show was developed by producer Irwin Allen, who effectively amalgamated elements from literary and cinematic works like “Gulliver’s Travels,” “Dr. Cyclops,” and “The Incredible Shrinking Man.” Allen’s synthesis of these and other sources gives “Land of the Giants” a unique flavor, leveraging established ideas to create an innovative and exciting narrative.

However, one significant criticism of “Land of the Giants” is its character similarities to another Allen production, “Lost in Space.” The prescient child and the cunning troublemaker found in both shows create a unpleasant sense of déjà vu. While not negating the originality of “Land of the Giants,” this structural mirroring makes it feel needlessly derivative.

On the plus side, the show effectively updated the premise of the most memorable segments of “Gulliver’s Travels,” infusing it with science-fiction elements. It explored power dynamics as symbolized by size, drawing inspiration from “Dr. Cyclops,” and, like “The Incredible Shrinking Man,” used size reduction to magnify life’s essential questions.

Additionally, “Land of the Giants” deserves commendation for its impressive special effects. Despite the technological constraints of its era, the show produced a believable world of giants. Its ability to deliver visually, even after half a century, is a testament to the skill and creativity of its production team.

“Land of the Giants” holds a special place in the history of science-fiction television. Despite its short lifespan, it showed an innovative approach to storytelling, combining thoughtful narrative with compelling visuals. It remains a reference point for the genre, a testament to its well-executed design and timeless appeal.