Planetata na sakrovishtata (Bulgarian: Планетата на съкровищата) AKA The Treasure Planet is a 1982 Bulgarian animated film directed by Rumen Petkov.
Similar to the 2002 Disney production Treasure Planet, the film takes the basic premise of Treasure Island and transfers it into a science fiction setting. The hero, a boy named Philip, discovers a star map inside the luggage of deceased astronaut Billy Bones and subsequently finds himself pursued by a group of greedy and ruthless space pirates. Young Philip sets off to follow the star map to the position of a precious treasure. During his voyage aboard Captain Smolletts spaceship, the Hispaniola, he struggles with the nefarious plots of John Supersilver and the other space pirates. Overcoming magnetic storms and holes in the space/time continuum, the spaceship lands on the Treasure Planet. There, Philip and Captain Smollett defeat extraterrestrial monsters and escape gigantic laser traps in pursuit of their treasure.
What the film lacks in the art and plotting departments, it more than makes up for in its sheer weirdness.
This film provides examples of the following tropes:
- Adapted Out: Several characters from the novel, most notably Ben Gunn, are absent in Petkov's film.
- Adaptational Villainy: Supersilver is a thoroughly unpleasant and unrepentant bad guy, with virtually none of the Anti-Villain traits of his literary counterpart.
- Applied Phlebotinum: The treasure turns out to be Flints equivalent of Noahs Ark, containing samples of life on Earth before it became too artificial. In the end, Philip loads the treasure onto the Hispaniola's only escape pod and sends it towards Earth to restore nature. This is rendered as various animals and people literally dropping to the planet's surface from parachutes.
- At the Opera Tonight: Captain Flint's greatest passion was opera, with his personal favourite being Giuseppe Verdi's Nabucco, something that drove the rest of his crew "batty" according to Supersilver. This later serves as a kind of Chekhov's Gun when the crew of the Hispaniola reach Treasure Planet, as it is revealed that playing an excerpt from the opera will enable them to take control of the AI guarding the treasure.
- Bad Boss: Supersilver regularly berates his underlings as well as his parrot.
- Bittersweet Ending: Philip goes down with the ship as it is sucked down the black hole, but successfully manages to restore Earth's ecosystem using Flint's treasure.
- The Cameo: Rather prophetically, Mickey Mouse makes a cameo during the film's climax.
- Composite Character: Black Dog has elements of Blind Pew (being the one who hands over the "black spot" to Billy Bones), Squire Trelawney, and at least one other character from Stevenson's novel.
- Diabolus ex Machina: Supersilver sabotages the Hispaniola's navigational computer, sending it flying directly into a black hole. Worse, the ship has only one escape pod, whose maximum carrying capacity is 200 kg - the same weight as the treasure itself.
- Deadpan Snarker: Supersilver's robotic parrot is capable of speech, and is often quite sardonic.
- Deranged Animation: In addition to an art style best described as "Fleischer Studios on crack", many scenes are rendered abstractly.
- Face Death with Dignity: After being handed over the "black spot," Billy, fulfilling his duty as a conscientious pirate to drop dead at once according to the pirate code, allows himself to suddenly die, but before that turns his map over to Philip.
- Family-Unfriendly Death: After Supersilver murders Capt. Smollett and sets the Hispaniola on course for the black hole, Phillip shoots Supersilver in the gut with a laser pistol, resulting in Supersilver bursting aflame, slowly bleeding out, and crawling away in confused agony before he expires.
- Gaia's Lament: The Earth of Petkov's film is a sterile, graceless concrete wasteland utterly devoid of any natural life.
- Incessant Music Madness: Supersilver's mechanical henchmen perform an elaborate song and dance, which irritates him to no end.
- Limited Animation: As was common with many Eastern European animations during the Cold War years.
- Lotus-Eater Machine: One of the traps set up by Flint functions in this way, holographically projecting one's deepest fantasies in order to throw them off. In Capt. Smollett's case, it's his self admitted weakness for beautiful women that the device uses for this purpose.
- Mecha-Mooks: Supersilver is aided by some mechanical henchmen.
- Mistreatment-Induced Betrayal: Black Dog becomes fed up with being treated as little more than a tool by Supersilver, and manages to overpower him and take control of Hispaniola.
- Negative Space Wedgie: While passing through a magnetic storm, the crew of the Hispaniola encounter a rift in space-time that briefly sends them back in time to the 18th century.
- Pirate Parrot: And a mechanical one, at that, not unlike the one in the Doctor Who serial "The Pirate Planet", though far more mobile.
- Public Domain Soundtrack: An electronic rendition of "Ode to Joy" plays over the climactic scenes.
- Stealth Parody: According to Petkov, the film was intended as one of both the original novel and some of the odder trends in both Eastern European animation and in Bulgarian society at the time. As such, it has many hallmarks of contemporary Bulgarian humour.
- Surreal Humor: All over the place, from Billy being forced to jump rope by Black Dog to random references to Beverly Hills to characters spontaneously breaking out into opera.
- Take That!: The film's portrayal of the future Earth as a depressing concrete wasteland may have been intended as a jab at the prevalence of Brutalist architecture in Eastern Europe at the time.
- Time Dilation: As this Hispaniola descends into the black hole, this begins to take place.
- Toon Physics: Possibly employed in an attempt to emulate the aforementioned Fleischer Studios cartoons. The most prominent example occurs as Billy Bones is being chased by Black Dog.
- Wooden Ships and Iron Men: During a scene where the characters travel through time while braving a magnetic storm, their ship becomes a literal wooden ship of the line, and Robert Louis Stevenson and the original novel are explicitly named.