Soon Allen turned to colourful sci-fi fare to appeal to a young audience.
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He spent time editing a magazine before moving into radio and then a syndicated gossip column, before his understanding of the shifting gravity in Hollywood away from studios to talent agencies let him begin producing TV and finally films.Īllen gained success and plaudits with the stock footage-laden documentaries The Sea Around Us (1953) and The Animal World (1954), and applied a similar technique to the much-derided, patched-together fantasy-historical survey The Story of Mankind (1957), a film that evinced his faith in star power and interest in Biblical-scale tales of travail. The son of Russian Jewish immigrant parents who grew up poor in New York, Allen first grazed show business by moving to Hollywood in search of job opportunities after the Depression forced him to drop out of college. Whilst he didn’t make all of the era’s big disaster movies, producer Irwin Allen became synonymous with them to the point where he was granted the popular nickname “The Master of Disaster.” Funnily enough, up until The Poseidon Adventure Allen had instead been better known for sci-fi, making films like The Lost World (1960) and Voyage to the Bottom of the Sea (1961), and TV shows including the latter film’s spin-off, Lost In Space, The Time Tunnel, and Land of the Giants. Sparked by the success of Airport (1970) but really catching fire with the release of The Poseidon Adventure, the disaster film became the premier genre for star-laden blockbuster filmmaking and special effects spectacle through much of the 1970s before Star Wars (1977) rudely supplanted it with science fiction. Screenwriters: Wendell Mayes, Stirling Silliphant / Stirling Silliphant Directors: Ronald Neame / John Guillermin, Irwin Allen
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