The 25 Jan 1961 Var and 31 Jan 1961 LAT reported that production was scheduled to begin at Columbia Studios in Los Angeles, CA, using FantaScope, a process involving stop-motion animation. Producer Alex Gordon also intended to film in Eastman Color. The 26 Jan 1961 DV credited Orville H. Hampton as associate producer and screenwriter. According to C. Jack Lewis’s 2002 book, White Horse, Black Hat: A Quarter Century on Hollywood's Poverty Row, Hampton used the pseudonym “Owen Harris” during his tenure at Columbia in an attempt to conceal his past association with low-budget studios.
       The 6 Mar 1961 DV noted that Gordon incorporated an excerpt from President John F. Kennedy’s recent inauguration speech as dialogue for “Dr. Monica Powers,” played by Julie Adams. Arguing in favor of building an underwater city, the character stated: “Let both sides seek to invoke the wonders of science instead of its terrors. Together let us explore the stars, conquer the deserts, eradicate disease, tap the ocean depths and encourage the arts and commerce.”
       Principal photography began 7 Mar 1961. Two weeks into filming, the 21 Mar 1961 DV reported that Gordon was seeking permission from the Los Angeles County Sheriff’s Department to allow his crew to photograph the sunken freighter, Dominator, near the Palos Verdes Peninsula. In addition to the extensive underwater footage required for twenty-two weeks of scheduled “special effects work,” Gordon was hoping to make a scientific discovery if the ship’s cargo of grain took root on the ocean floor. Principal photography was completed soon after, as noted in the 5 Apr 1961 Var. The 12 Apr 1961 issue stated that special effects filming was currently underway.
       The 3 Aug 1961 DV credited newscaster Vince Williams with providing voice narration.
       Box-office reports in the 17 Jan 1962 Var indicated a 10 Jan 1962 debut in Seattle, WA. Openings followed in Los Angeles on 7 Feb 1962, and in New York City on 8 Aug 1962. The picture was relegated to the second half of a double bill in all three situations. A review in the 1 Feb 1962 noted that the film was released in black-and-white, neutralizing the impact of its special effects and emphasizing its weak plot. Theatrical bookings of the black-and-white version continued through the end of 1968; but as early as January 1969, widespread television broadcasts began popping up offering the original, up until that time, unseen Eastman color version.
       On 17 Dec 1963, DV reported that Alex Gordon sued Columbia for $500,000, claiming a breach of contract for the studio’s failure to release the film in color. Twenty months later, the 27 Jul 1965 DV revealed that Gordon filed an $800,000 suit against Columbia, alleging “breach of contract, damage to industry reputation, and false and misleading advertising.” The amount was based on his projection of $300,000, or twenty-five percent of worldwide net profits, had the film been released in color. The dollar amount was described as “compensatory damages” for lowering the picture’s status and earning potential. The remaining $500,000 was for the alleged harm to Gordon’s reputation in the entertainment industry.