“Around The World In 80 Days” Review: Where David Tennant Recorded Phileas Fogg’s Adventures

Phileas Fogg (David Tennant) lived a quiet and primarily lonely life as a wealthy man in London in 1872. However, it is activated when his loyal – albeit unstable – servant gives him this card. Only the word wrote “coward” on it, and he placed it with another card containing pictures of travel destinations worldwide.

At the Reform Club, he was fascinated by a newspaper article:

You can also travel around the world in 80 days or less in a hot air balloon developed in France. This article is written by Abigail Fortescue (Leonie Benes), daughter of newspaper editor Bernard Fortescue (Jason Watkins). He was just breaking into the men’s club. When he realized the author wasn’t in the article and wanted to know why. His father said that readers trust the writings of men more than women.

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After the incident, Fogg said he would make a global trip in less than 80 days. Both Fortescue and his other friend Niall Bellamy (Peter Sullivan) scoff at the idea because Fogg is humble. Bellamy bet £10,000 that Fogg wouldn’t make it. Overconfident, Fogg doubled his stake to £20,000. He vowed to return to the club by Christmas Eve at the latest.

He is accompanied by Passepartout (Ibrahim Koma), a waiter at the club. Who has just left after an argument after breaking up with a waiter. He overhears the discussion and sets out to be hired as Fogg’s servant. Abigail also persuaded her father to write about Fogg’s journey under the name Abigail Fix.

The first stop is Paris so you can catch the train to Italy. Passepartout was a little worried that he would be in his hometown, which he left a decade ago. His reluctance was immediately highlighted when revolutionaries protesting the government immediately saw him, including his brother. After the government killed his father, Passepartout fled while his brother continued to work for his father. Today they wanted to kill the president and drag Passepartout and Abigail to where they wanted to do the deed.

Fogg, meanwhile, is pulled out of his carriage by the demonstrators:

Who was hunted and robbed by street urchins and left with very little treasure. He manages to keep Abigail’s pouch intact. He finds the spot where the president awards medals on his way through town. Passepartout’s brother is camping across the street, waiting to shoot the president.

We had a feeling this 80-day adaptation, written by Ashley Faro and Caleb Ranson. It wouldn’t stick to the novel when we saw the action-packed Passepartout story straight out of the gate. It’s not just that the writers decided to diversify the cast, changed Passerpartout to colour.

And replaced the grim detective Fix with the “hot” Abigail Fix (who used her mother’s maiden name to stand out from her to keep her publishing dad away). They took Verne’s story frame and went on new adventures. And that’s good for us.

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If you don’t like screenwriters sticking to novels – and at 80 days. We can’t imagine there are not so many people that are out there who know novels that well. Then rethinking Fogg’s journey through the episodes should be a fun adventure. He didn’t fall into a sleep trap like most songs played in 19th-century England; it quickly gets to the heart of the story and continues through the first hour.

This helps Tenants make Fogg attractive.

You see him early in the series as a man protected by money. Which has experienced nothing and has a narrow view of the world. But you also see the thirst for adventure in those who want to go far. More than the cool old whites who populate the clubs they visit every day. There was more than one indication that he had made such a statement before and quickly gave up. But he never had Passerpartout and Fix by his side; his motivation to keep Fix safe has more or less led him to save the life of the French president, albeit by accident.

But what we liked about this episode is that Faroa and Ranson aren’t afraid to get rid of Fogg in the second half of the episode and allow Passepartout and Fix some fat emotional scenes. They tease, argue, and we get an idea why Passepartout is so eager to join Fogg; It’s not just for work, but a chance to escape from your past once again. That knowledge will help the story move forward, so it’s not just Fogg, a man who, even while desperately seeking his way out of Paris, is still a somewhat withdrawn character.

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This new worldwide adaptation in 80 days tells more or less a new story that may have more in common with the 21st century than the 19th century. But it’s also full of fast-paced excitement, with great headliners from Tenant, Benes, and Coma.