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In the midst of a savage hand-to-hand battle, a volcano suddenly erupts: As the film ends, Tumak, Loana, and the surviving members of both tribes emerge from cover to find themselves in a ruined, near-lunar landscape.

They all set off — now united — to find a new home. The exterior scenes were filmed on Lanzarote and Tenerife in the Canary Islands in the middle of winter.

The film features the Echium wildpretii plant, as a homage to Tenerife's unique endemic flora. However, the plants are set in scenes filmed on the Lanzarote beach.

In actuality, this plant only flowers from May to June. As there were no active volcanoes in the Canary Islands, the studio had to construct a 6—7 ft 2 meter high volcano on the Associated British Picture Corporation 's studio back lot.

The eruption, lava explosions and lava flows were composed of a mixture of wallpaper paste, oatmeal, dry ice and red dye.

As the Shell people are attacked by a giant turtle , the women call it Archelon which is the real scientific name for the animal.

The film uses three live creatures: Ray Harryhausen was asked repeatedly about these unanimated creatures, and he confessed they were his idea.

At the time, he felt the use of real creatures would convince the audience that all of what they were about to see was indeed real.

Shortly after, Tumak encounters a dinosaur skeleton, which helped build audience anticipation for further dinosaur encounters.

This supposedly massive skeleton was actually only about 12 inches in length, made of plaster and shot against a blue backing and matted into the foreground.

The scene where the Allosaurus attacks the village is similar to one in the original film. Shortly after the creature appears it plucks a man out of the water.

They used an actor suspended on wires and Harryhausen positioned an animated model man over the actor, on the rear projection plate; thus it seemed as if the live actor was being eaten.

Another technically complex scene in this part of the film was when a man fighting the Allosaurus is trapped under a shelter: The team used a full-size shelter rigged to collapse at that point during the action.

Harryhausen then placed a miniature part in the creature's mouth which, when all lined up on the rear projection plate, blended in perfectly.

The final significant scene in this sequence is when Tumak impales the creature on a spear from below. John Richardson, the actor who played Tumak, held nothing in the long shots and pretended to have a pole in his hands, but he did hold a pole in the close-up shots.

A miniature pole was built and used for the long shots. It was placed in the studio in front of Richardson's hands, and then Ray animated the Allosaurus suspended on wires in front of John, on top of the miniature pole.

The Pteranodon sequence took much time to create, primarily because of how hard it would be to make a model pterosaur pick up a real woman.

However the solution was simple: Instead of using a large crane on location, the crew had Raquel Welch fall behind a rock, and then the model Pteranodon swoops down and flies off with a model of Welch, which was substituted during the single second in which she is behind the rock and not visible.

Later, when the creature takes her to its nest, the nest was matted into the scene atop a real rock face by double printing the film.

For the Pteranodon and Rhamphorhynchus fight scene, when she is dropped into the water, Harryhausen and the crew released her from two dummy rubber Pteranodon claws and while the real Welch fell onto a mattress, the film cut to a long shot of the Welch model suspended on wires.

Originally Hammer offered the role of Loana to Ursula Andress. When Andress passed on the project due to commitments and salary demands, a search for a replacement resulted in the selection of Welch.

Although reluctant, Welch said that the selling point was the chance to spend six to eight weeks of filming in London while shooting interiors during the height of its "swinging" period.

Welch wore a bikini made of fur and hide in the film. She was described as "wearing mankind's first bikini" and the bikini was described as a "definitive look of the s".

The publicity photograph of Welch from the film became a best-selling pinup poster, [9] and something of a cultural phenomenon. The iconic image was copied by the artist Tom Chantrell to create the film poster promoting the theatrical release of One Million Years BC.

Welch's depiction is accompanied by the film's title in bold red lettering across a landscape populated with dinosaurs. Welch stated in a interview that three form-fitting bikinis were made for her, including two for a wet scene and a fight scene, by costume designer Carl Toms: Among contemporary reviews, Variety wrote "the whole thing is good humored full-of-action commercial nonsense, but the moppets will love it and older male moppets will probably love Miss Welch"; [16] and The Monthly Film Bulletin noted "Very easy to dismiss the film as a silly spectacle; but Hammer production finesse is much in evidence and Don Chaffey has done a competent job of direction.

And it is all hugely enjoyable"; [17] while more recently, The Times wrote that "seen nowadays it is a kitschy, retro scream. Yet as dinosaurs and giant sea-turtles roam the volcanic earth in One Million Years BC, this is also a chance to appreciate the early work of the great special effects pioneer Ray Harryhausen.

The US release was censored for a broader audience, losing around nine minutes. Deleted scenes included a provocative dance from Martine Beswick , a gruesome end to one of the ape men in the cave and some footage of the Allosaurus attack on the Shell tribe.

In it was re-released in the UK on a double bill alongside She , an earlier Hammer film. The pairing became the ninth most popular theatrical release of the year.

All the dinosaur models from this film still exist, although the Ceratosaurus and Triceratops were re-purposed for The Valley of Gwangi , as Gwangi the Allosaurus and the Styracosaurus.

Stock footage depicting the landslide was reused for Alex's daydream scene in Stanley Kubrick 's film A Clockwork Orange [24].

The release included restorations of both the international and U. The film was adapted into a page comic strip for the May issue of the magazine House of Hammer volume 2, 14, published by Top Sellers Limited.

It was drawn by John Bolton from a script by Steve Moore. The cover of the issue featured a painting by Brian Lewis of Raquel Welch in the famous fur bikini.

From Wikipedia, the free encyclopedia. For the original film, see One Million B. US theatrical release poster by Tom Chantrell.

Hammer Film Productions Seven Arts. This is a story of long, long ago, when the world was just beginning A young world, a world early in the morning of time.

A hard, unfriendly world. Creatures who sit and wait. Creatures who must kill to live. And man, superior to the creatures only in his cunning.

There are not many men yet. Just a few tribes scattered across the wilderness. Never venturing far, unaware that other tribes exist even. Too busy with their own lives to be curious.

The feature-rich nature of the game means that players will be kept interested for longer. We have had feedback from visitors, saying this may be one of the best online games to play.

Visit Our Help Page. How far back through history is enough to find a compelling slot theme? The good people at Betsoft have gone way, way back - to a period of 2 million years B.

The 2 Million B. The 2 Million BC game is referred to by the company that makes it as a 3D video slot, because of it's animated graphics.

As with many new slot machines, this game has free spins bonuses to keep you amused as well as interactive mini-games.

All the control buttons and adjustment scales are made to fit the theme. All the symbols fit the theme, as well. From the lowest of values to the highest, the symbols include: The interesting thing about 2 Million B.

There are three special symbols, and no Wild. The bonfire acts as a Scatter and triggers freebies, whereas a symbol showing a diamond is responsible for the other main bonus feature in the game.

There is also an acorn symbol which triggers the Saber Attack feature. Instead you will find it in the left upper corner, beside the Sounds Off control button, shaped as a leaf.

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