If you’re looking for an early example of spectacular disaster movie effects, look no further than “Deluge.” Released in 1933, this apocalyptic RKO feature trashed New York City with a double whammy of earthquake and tsunami.

In an article from the August 1933 edition of “International Photographer,” special effects director Ned Mann explains how he and his team pulled off what he describes as “one of the largest, and certainly the most intricate, job of miniature work ever done in any production.”

Mann’s first task was to build large-scale miniatures of the New York City waterfront and downtown district. All that remained after that was to flood the former and demolish the latter.

“We spent as much money on the miniatures as the average program picture costs. Following construction, weeks of preparation and testing were necessary, naturally, because the destruction must occur in a matter of seconds, completely demolishing and destroying the structures and properties which we had taken months to build.”

Ned Mann

Watch the “Deluge” destruction sequence on YouTube:

To simulate the earthquake, miniature skyscrapers were mounted on a 100-foot-square platform, cut into eight sections. Each section sat on a set of rollers running on undulating tracks, an arrangement described by Mann as being “similar to a rollercoaster.” Electrically-operated springs caused the entire assembly to jostle up and down.

“We took no chances in missing any part of the action from any angle. When the time came for the actual photographic and sound recording of this part of the picture. I had eight cameras on the set. The motors were started on the cameras and on the platforms. Slight vibrations developed into severe jolts and shocks. Sections of the platform separated, opening large crevices in the earth’s foundation. The entire platform moves toward the cameras. The buildings shake and crumble. The destruction was as dramatic as it was complete.”

Ned Mann

Chief photographer for the miniature sequences was Billy Williams, assisted by Eddie Tiffany, head of the camera department at K.B.S. Studio, who overcranked his cameras at ten times the normal speed. This lent realism to the toppling buildings, and especially to the hundreds of gallons of water used to flood the miniature waterfront set.

“‘Deluge’ is the first picture I have ever worked upon where I have been given full responsibility with relative authority. [The producers] gave me the script and told me what they hoped to accomplish, and then turned me loose with full authority to spend money where and when I thought it was absolutely necessary, and not once during the entire production did they or any other executive of the studio ever interfere with me.”

Ned Mann