In this version, Phileas Fogg is a rather crackpot but nevertheless effective inventor who is intensely annoying to Lord Kelvin, head of the Royal Society, who does not consider him a “real” scientist. Kelvin, played by the always watchable Jim Broadbent, is also the villain of the piece, who not only cheats so that he can be rid of Fogg, but also is in cahoots with General Fang (Karen Joy Morris) in a deal to sell her illicit arms to prop up her corrupt power in China. Kelvin is written as a cartoon villain, who rants and throws things at his fat, foolish, and fearful henchmen when things go wrong. (Some writer must have had it in for the great figures of Britain’s colonial period, since Kelvin’s cronies are called “Lord Salisbury,” “Lord Rhodes,” and “Colonel Kitchener.” Any resemblance to actual historical persons is indeed coincidental.) Although Kelvin was indeed an arrogant fellow and actually did say, in 1900, “There is nothing more to be discovered,” in fairness he limited that remark to his own field of physics—not invention in general—although he was very skeptical of heavier-than-air flight—he doesn’t deserve to be blackguarded in this fashion.
That irritant aside, the movie is an entertaining if mindless romp. Some of the scenes are very cleverly done, particularly the Paris sequence in which Chan fights off a bevy of Tong thugs at an Impressionist art exhibit with no one else being the wiser. On the other hand, the following balloon escape goes on too long and seems calculated to show off Chan’s capacity for self-abuse. Steve Coogan does a good job as the oblivious Fogg, Cécile De France is very engaging as Monique La Roche, the struggling artist who attaches herself to Fogg in Paris, and Karen Joy Morris (a.ka. Man Wai Mok) is appropriately exotic and sinister as General Fang. The now-notorious cameo by Arnold Schwarzenegger as “Prince Hapi” displays his underrated talent for comedy to good effect.
Of course in any Chan film, fight scenes are very much the raison d’etre, and this one is no exception. I appreciate the way in which Chan usually manages to both do something new—in this case, using a human being, the hapless Inspector Fix, as a weapon—and shows off some of the ancient forms of kung fu, as in when he defends himself using the horse-mounting bench during the China sequence.
As I said, pure fluff. The ending of course holds no surprise for anyone familiar with Verne or the earlier film. See it for matinee prices, as we did.