Journey to the Beginning of Time (Czech: Cesta do pravěku, literally "Journey into prehistory") is a 1955 Czechoslovak science fiction adventure directed by Karel Zeman, produced in colour using a combination of 2-D and 3-D models. It was the first of Zeman's productions to include actors in conjunction with stop-motion and special effects. It won awards at the International Film Festivals of Venice and Mannheim. In 1966, Cesta do pravěku was dubbed into English, creating a modified US version, Journey to the Beginning of Time.
Plot The story involves four teenagers: Petr, the main narrator (Josef Lukáš); Toník, who also narrates (Petr Herrmann); Jenda (Zdeněk Husták); and Jirka (Vladimír Bejval). The teens want to find a living trilobite. During a break from school, they undertake a journey in a rowing boat on a "river of time" that flows through a mysterious cave, emerging on a strange, primeval landscape. As they make their way upstream, they realize that they are travelling progressively farther back in time. On their journey, the boys face various perils and learn about prehistoric life.
Comparison to other works The plot is somewhat similar to that of the novel Plutonia (1915) by the Russian palaeontologist Vladimir Obruchev, in which a team of Russian explorers enter the Earth's crust via an Arctic portal (a huge depression in the Earth surface created many millions of years previously by the impact of a giant asteroid, into which prehistoric animals had entered), and follow a river that leads them through a sequence of past geological eras and associated animal life. Some scenes in Cesta do pravěku also recall Arthur Conan Doyle's 1912 novel The Lost World, with four male protagonists exploring a prehistoric world where they find evidence of native human habitation, are attacked by a group of enraged pterosaurs, witness a twilight fight between a carnivorous dinosaur and a herbivorous one, encounter a stegosaurus up close, and see one of their members, Petr, nearly chased down by a phorusrhacos. There is also a scene where the stegosaurus battles a ceratosaurus, which is reminiscent of the Rite of Spring sequence from Fantasia.
Production Zeman's use of unorthodox and seamless production techniques ensured that the film was free of jerky stop-motion sequences and grainy splicing of stop-motion with real-time footage that characterised Hollywood's animated films until the advent of computer-generated imagery. Filming took place on the Morava River near Bzenec Town in the Czech Republic at the nature reserve named (in Czech) Osypané břehy, the Slovak river Váh (near Galanta) and on studio sets. Zeman was heavily influenced by the palaeo-art of the celebrated Czech artist Zdeněk Burian (1905-1981), and much of the film's imagery was inspired by Burian reconstructions that had been painted under the guidance of Czech palaeontologist Josef Augusta (1903-1968). In some scenes, 2-D 'profile' images of animals originally depicted by Burian were filmed in real time (as in the Styracosaurus sequences), whilst other well-known Burian scenes were recreated in stop-motion using a combination of 2-D and 3-D models (as in the Deinotherium and Uintatherium sequences). Possibly for the sake of continuity, Zeman also used models or 2-D profiles when depicting extant species including bison, a python, flamingoes, vultures, various antelopes, giraffes, and a jaguar (which was briefly spliced with footage of a real animal in one of only three instances of live species footage). In some scenes, miniature models of the actors and their boat/raft were also animated. In addition to numerous miniature animal models and 2-D 'profiles', Zeman also used larger models of heads and bodies of animals (including a full-sized 'dead' Stegosaurus and swimming woolly rhinoceros, Brontosaurus and Trachodon models), as well as life-sized model plants (as in the Carboniferous forest sequence, and the encounter with the Styracosaurus). The use of 2-D profiles and 3-D models animated by concealed means had the advantage of filming in real time without the need for labour-intensive stop-motion. Two of the film's prehistoric species were not based on Burian images; the Stegosaurus and the Ceratosaurus with which it fights in a twilight scene (it remains unclear as to why Zeman did not use Burian images in these instances). Cesta do pravěku was made on what would be considered a small budget by Western film-makers. It discussed the various time epochs as defined by palaeontologists and the types of animals typical of those periods, using information known in the 1950s. Whilst many animated feature films, particularly those in the U.S., used models of prehistoric animals in contrived sequences, Zeman instead depicted animals acting naturally in their own environments as if being filmed for a documentary, with the actors observing from the relative safety of the river. Such a philosophy was unusual at the time and was more typical of later TV productions that depicted prehistoric animals in an educational context (including the BBC's Walking with Dinosaurs and Walking with Beasts series) which became popular following the advent of computer-generated imagery that negated the need for time-consuming, highly skilled manual animation. The original release of Zeman's film was 93 minutes, although the East German release had a slightly shorter running time.
US version In 1966, another version of the film was released in the U.S. by William Cayton whose company had been marketing Russian animated cartoons and feature films from the 1940s and 1950s, especially those of the famous Soyuzmultfilm studios (well known titles included The Firebird, The Frog Prince, Beauty & the Beast, The Space Explorers, and The Twelve Months). The films were dubbed, sometimes re-titled, partitioned into chapters and distributed to U.S. TV stations. In the case of Cesta do pravěku, Cayton replaced the opening and closing scenes of the original with new footage of American boys who entered the film in a dream sequence whilst visiting the American Museum of Natural History in New York. The film was copied to poor quality film stock and edited into short segments (about six minutes each) for presentation as a serial, syndicated to various children's television programs. The U.S. version was released on VHS video by GoodTimes Entertainment in 1994. Because of the new sequences, none of the actors' faces could be shown until the original footage began.
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