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PEUGEOT 607
Datum eerste toelating : 5 januari 2007
Datum eerste tenaamstelling : 5 januari 2007
Datum laatste tenaamstelling : 5 januari 2007
APK vervaldatum : 8 december 2017
This bus was new to Lothian Buses as 607 in 2001.
Seen here at Blackhall.
607 originally had exit doors, the last batch to be bought with exit doors and has been converted with the exit doors removed.
This bus. is captured on an extremly busy Queensferry Road at Blackhall.
La E656.607 è titolare del regionale 11302 Sestri Levante - Savona, quì ripreso nei pressi di Zoagli.
# Foto ricaricata con una più recente e di maggior dettaglio nella medesima località con il medesimo materiale.
The E656.607 hauls the regional train n. 11302 from Sestri Levante to Savona, here in Zoagli.
# Picture updated with one better and most recent in the same location with the same composition.
185 607 (don't know the operator) at Duisburg Lotharstrasse with a partly loaded intermodal freight on September 24, 2025, 13:09.
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
Dassault Falcon 7X cn21 de 2008
Hungarian Air Force (28/04/2019-...)
aéroport Avignon Provence
10/09/2023
F-WWUR, VP-BEH, F-HMGC, HA-LKX, 607.
Stamattina è venuta a farci visita... ecco la foto nella versione "da fotogallery" striminzita con la didascalia del mio nickname nella gallery di Ferrovie On Line.
The light of this Pokémon absorbs life energy of people and Pokémon around it.
Original concept and design of the character © 2010-2011 Nintendo, Gamefreak and the Pokémon Company.
LEGO and the Brick and Knob configurations are trademarks of the LEGO Company.
Photo and creation © 2011 Filip Johannes Felberg
Additional Photos in Set.
www.flickr.com/photos/morbius19/sets/72157639873090445/
Pellucidar Series. Trailer youtu.be/sbmtCBhPkyg?t=1s
Doug McClure (David Innes), Peter Cushing (Dr. Abner Perry), Caroline Munro (Princess Dia), Cy Grant (Ra)
Directed by Kevin Connor
Doctor Abner Perry and his student, David Innes travel below the Earth's surface in a gigantic drilling machine. The scientific duo stray from their original geological course and end up in a strange land thousands of miles beneath the Earth. There they find a civilization of humans ruled over the cruel Sagoths, a race of strange creatures that serve the Mahars, a species of telepathic and prehistoric flesh eating bird monsters. David and the batty doctor Perry must find the means to destroy the Mahar city and free the enslaved people of Pellucidar.
The one cinematic adaptation of Edgar Rice Burroughs' series of novels based on his fictional world of Pellucidar. It's a fantastic realm at the center of the Earth featuring a wild menagerie of monsters and vicious creatures. The monsters seen in the Amicus film are pretty faithful to those in Burroughs' book, only they are less violent taking into account that the film version is made for the kids or the young at heart. Conner's direction is good and the film moves along from one set piece to the next with very few slow spots. The only time the film really bogs down are several scenes featuring lots of walking around in dark caves and tunnels.
Other than that, the production design of Maurice Carter is stunning and commendable. The entire film is shot on studio sets and this adds immeasurably to the fantasy elements found herein. Carter handled designing duties on the first three of the John Dark & Kevin Conner quartet of lost world fantasy movies. Michael Vickers handled the rousing score which could certainly do with an issue on DVD. Vickers also returned to do scoring duties on WARLORDS OF ATLANTIS (1978), the fourth in this quartet, but the only one not a Burroughs novel.
The opening theme is right adventurous and majestic. Similar to the playfulness of the ending theme, the score changes drastically once the intrepid explorers enter the bizarre world of Pellucidar. Possessing an otherworldly and alienesque sound, the music for the Pellucidar sequences perfectly matches the unearthly and quasi-prehistoric locations.
Doug McClure returns in full on hero mode playing a brash, yet brave, stranger in a strange land quickly turning into something of a civilized Tarzan character. There's not as much time spent with the characters as there was for the previous entry and most especially the one that follows it. However, McClure, Cushing and Munro get just enough depth for the viewer to not want to see anything bad happen to them. AT THE EARTH'S CORE is purely escapist comic book entertainment and that's all it want to be is entertainment. Anybody looking for subtext, or a serious and realistic picture would do well to look elsewhere.
McClure was known for roles in numerous American western television programs most notably on the long running western show, 'The Virginian'. He occasionally appeared in genre work on television in between the western programmers, but his career changed once he appeared in THE LAND THAT TIME FORGOT (1975). After that, more and more movie roles came his way including some extreme horror starring roles. His four lost world adventure movies are high points and memorable efforts in his long career.
Peter Cushing plays the wonderfully daffy Doctor Abner Perry. Comparable to his role as Dr. Who in two cinematic adaptations of the famed British science fiction series, Cushing plays Perry as a lively and spirited soul despite his age. Perry has no problem getting in on the action which is most prominent during a scene where he makes a bow and arrow out of the surrounding fauna to dispel an attack by a giant fire breathing frog monster that makes a hasty and unannounced appearance.
Cushing also relives one of his most memorable lines from HORROR EXPRESS (1972). In that film, he responds to a query that he may in fact be the monster on the train, "Monster? We're British you know." In CORE, the Mahar creatures use telepathy to control their victims. In an attempt to hypnotize Perry, Cushing blurts out stoically, "You can't mesmerize me! I'm British!"
The stunning beauty of Caroline Munro is one of the main reasons for male viewers to tune in. Her pouty veneer showcases an inherent sexiness that threatens to burst forth from her limited and somewhat revealing costume. Munro was one of the most famous Hammer girls despite never really getting a role worthy of her talents. Her turn in CAPTAIN KRONOS: VAMPIRE HUNTER (1972) was pretty good, but Amicus seemed to get a bit more mileage out of her looks in AT THE EARTH'S CORE (1976).
By the time STARCRASH (1978) rolled around, Munro was in full on fighting femme fatale mode playing an intergalactic bombshell in a movie that mixed STAR WARS bravado with BARBARELLA style silliness.
When AT THE EARTH'S CORE (1976) was released, it ultimately became the biggest grossing Amicus production ever with $3.5 million in box office returns. It was also the last. The next film, THE PEOPLE THAT TIME FORGOT (1977), which was not really an Amicus picture, came close to matching it with $3 million in profit. Despite the successes of the dinosaur opuses, the end of Amicus was nigh when shady business practices and the subsequent dissolving of the partnership of Max J. Rosenberg and Milton Subotsky spelled doom for the company.
There were a couple other notable lost world movies made by European filmmaker, Juan Piquer Simon. Those films were THE FABULOUS JOURNEY TO THE CENTER OF THE EARTH (1976) and MYSTERY ON MONSTER ISLAND (1980). The latter picture featured Peter Cushing briefly onscreen. There was also another series of similar style adventure yarns in 1977 to 1980. It was a trilogy of US-Japan co-productions between America's Rankin/Bass Productions and Japan's Tsuburaya Productions.
The trilogy began with THE LAST DINOSAUR (1977) and continued with THE BERMUDA DEPTHS (1978) and concluded with THE IVORY APE (1980). All three went straight to television in the United States but played theatrically on the international circuit. There's no doubt the success of Amicus' lost world epics inspired these other productions.
At one time the chief rival to the famous (and infamous) Hammer Studios, it's questionable whether Amicus could have survived in the changing markets what with big budget Hollywood blockbusters becoming the norm since the release of JAWS in 1975. This style of fantasy adventure was becoming extinct much like the dinosaurs featured in the Conner movies. The resurgence didn't take place till the release of JURASSIC PARK in 1993.
For their time, movies like AT THE EARTH'S CORE (1976) offered the type of serial inspired thrills that prospered in the 30's and 40's. Compared with the other three films, CORE contains so many more cliffhanger moments. The third film, THE PEOPLE THAT TIME FORGOT comes close as the final act is a rapid fire exchange of close calls and tight spots for the heroes.
In CORE, there's the journey to the Mahar city replete with dangers from giant man eating monsters, the ensuing escape from the city, the duel with "Jubal, the Ugly One", returning to the city to destroy the Mahar's, a duel between man and monster and finally, the obliteration of the Mahar city. It would seem the writers of WARLORDS OF ATLANTIS (1978) took the template laid down for AT THE EARTH'S CORE for the later film as there are several similarities which are discussed in that films review elsewhere on this site.
AT THE EARTH'S CORE (1976) is a highly enjoyable monster romp made during a more simpler time when sheer imagination fueled the ambitions of filmmakers capabilities. A time when budgetary constraints were channeled towards the imagination and creativity of those putting their vision up on the big screen. If you come to these types of movies with an open mind, a big smile and a buttery bucket of popcorn, you're sure to walk away with the notion you've just had a good time enjoying an old style adventure for kids, both young and old alike.