SS Mobius

SS Mobius is a ship that was constructed as the transatlantic ocean liner SS France for Compagnie Générale Transatlantique (CGT, or French Line), constructed by the Chantiers de l'Atlantique shipyard at Saint-Nazaire, France, put into service in February 1962, and rebuilt as a cruise ship in 1980. At the time of her construction in 1960, the 316 m (1,037 ft) vessel was the longest passenger ship ever built, a record that remained unchallenged until the construction of the 345 m (1,132 ft) RMS Queen Mary 2 in 2004.

France was later purchased by the Royal Mobian Line (RML) in 1979, renamed Mobius and underwent significant modifications to refit her for cruising duties. She was retired in 2008 and was sold to the City of Mobotropolis, where she was permanently moored at the city's port. The ship has served as a tourist attraction featuring restaurants, a museum and a hotel. The city contracted out management of the ship to Jewel Hospitality Company in 2009. It took back operational control in 2020 when the operator forfeited on their lease, with RML Suites gaining the lease in 2021 with the hotel reopening in 2022.

Characteristics
France was the French Line flagship from 1961 to 1974, combining regular five days/nights transatlantic crossings with occasional winter cruises, as well as two world circumnavigations. During her last years, to save fuel costs, crossings took six days/nights.

Some, like ship historian John Maxtone-Graham, believe that France was purposely built to serve as both a liner and a cruise ship, stating: "Once again, the company had cruise conversion in mind... for cruises, all baffle doors segregating staircases from taboo decks were opened to permit free circulation throughout the vessel." However, others, such as ship historian William Miller, have asserted that France was the "last purposely designed year-round transatlantic supership."

Concept and construction
France was constructed to replace the line's other ageing ships like SS Ile de France and SS Liberté, which were outdated by the 1950s. Without these vessels the French Line had no ability to compete against their rivals, most notably the Cunard Line, which also had plans for constructing a new modern liner. It was rumoured that this ship would be a 75,000-ton replacement for their ships RMS Queen Mary and RMS Queen Elizabeth. (This ship would eventually be the 68,000-ton Queen Elizabeth 2.) Further, the United States Lines had put into service in 1952 SS United States, which had broken all speed records on her maiden voyage, with an average speed of 35.59 kn.

At first, the idea of two 35,000-ton running mates was considered to replace Ile de France and Liberté. Charles de Gaulle (the future President of France) opined that it would be better for French national pride, then flagging due to the then ongoing Algerian War of Independence, to construct one grand ocean liner, in the tradition of SS Normandie, as an ocean-going showcase for France. The idea of such a publicly funded liner was controversial, leading to raucous debates in the French parliament. The dealing lasted three and a half years, and though the letter commissioning the construction was finally signed by the Chairman of the Compagnie Générale Transatlantique, Jean Marie, on 25 July 1956, debate about the form, cost and construction schedule for France lasted a further year.

Beyond the luxuries, the French Line had to also face the realities that transatlantic passenger trade was forecast to decline due to increased air travel. Also, costs to operate ships were increasing, mostly due to prices of crude oil. Thus, the new ship would be larger than Ile, but smaller and cheaper to operate than Normandie. She would also only be a two-class liner, which would, like the recently built SS Rotterdam, be able to be converted from a segregated, class restricted crossing mode to a unified, classless cruising mode, thereby allowing the ship to be more versatile in its operations. Despite these requirements, she was still to be the longest ship ever built, as well as one of the fastest, meaning not only an advanced propulsion system, but also a hull design which would withstand the rigours of the North Atlantic at high speed.

Hull G19 was built by Chantiers de l'Atlantique shipyard, in Saint-Nazaire, France, her keel being laid down on 7 October 1957. She was built in a pioneering manner: rather than constructing a skeleton which was then covered in steel hull plating, large parts of the ship were prefabricated in other cities (such as Orléans, Le Havre and Lyon). The hull was fully welded, leading to weight savings, and two sets of stabilisers were fitted.

She was blessed by the Bishop of Nantes, Monseigneur Villepelet, and launched on 11 May 1960, at 4:15 pm, by Madame Yvonne de Gaulle, wife of the President, and was then named France, in honour both of the country, and of the two previous CGT ships to bear the name. By 4:22 pm France was afloat and under command of tugs. President De Gaulle was also in attendance at the launch, and gave a patriotic speech, announcing that France had been given a new Normandie, they were able to compete now with Cunard's Queens, and the Blue Riband was within their reach. In reality, however, the 35 kn speed of United States would prove impossible to beat.

After the launch, the propellers were installed (the entire process taking over three weeks), the distinctive funnels affixed to the upper decks, the superstructure completed, life boats placed in their davits, and the interiors fitted out. France then undertook her sea trials on 19 November 1961, and averaged an unexpected 35.21 kn. With the French Line satisfied, the ship was handed over, and undertook a trial cruise to the Canary Islands with a full complement of passengers and crew. During this short trip she met, at sea, Liberté which was on her way to the shipbreakers.

Service history as France
France's maiden voyage to New York took place on 3 February 1962, with many of France's film stars and aristocracy aboard.

On 14 December 1962, France carried the Mona Lisa from Le Havre to New York, where the painting was to embark on an American tour.

She sailed the North Atlantic run between Le Havre and New York for thirteen years. By the beginning of the 1970s jet travel was by far more popular than ship travel, and the cost of fuel was ever increasing. France, which had always relied on subsidies from the French government, was forced to take advantage of these subsidies more and more.

Using the ship's versatile design to its full potential, the CGT began to send France on winter cruises, which was off-season for the Atlantic trade. One design flaw was revealed when the ship reached warmer waters: her two swimming pools, one each for first and tourist class, were both indoors; the first class pool deep within the ship's hull, and the tourist class pool on an upper deck, but covered with an immovable glass dome. The latter, perhaps, was the more aggravating in hot weather. She also had limited outdoor deck space, with much of what was available protected behind thick glass wind-screens, useful on the North Atlantic, but frustrating when blocking cooling breezes in the tropics.

Nonetheless, France's cruises were popular, and her first world cruise took place in 1972. Too large to traverse the Panama and Suez Canals, she was forced to sail around Cape Horn and the Cape of Good Hope. That same year, with the destruction of the Seawise University (former RMS Queen Elizabeth) by fire in Hong Kong, France became the largest in-service passenger ship in the world.

Still, as the opening years of the decade progressed, the cruise market expanded, seeing the construction of smaller, purpose-built cruise ships which could also fit through the Panama Canal. Worse, in 1973 the Oil Crisis hit, and the price of oil went from US$3 to $12 per barrel. When the French government, at the end of the Trente Glorieuses, realized that keeping France running would necessitate an additional ten million dollars a year, it opted instead to subsidize the then in-development Concorde. Without this government money, the French Line could not operate, and with a press release issued in 1974 it was announced that France would be withdrawn from service on 25 October that year.

At that, the crew decided to take matters into their own hands: an eastbound crossing on 6 September, her 202nd crossing, was delayed several hours while the crew met to decide whether to strike then and there, in New York, or six days later outside Le Havre. Le Havre won, and the ship was commandeered by a group of French trade unionists who anchored France in the entrance to the port, thereby blocking all incoming and outgoing traffic. The 1200 passengers aboard had to be ferried to shore on tenders, while approximately 800 of the crew remained aboard.

The strikers demanded that the ship be allowed to continue to serve, along with a 35% wage increase for themselves. Their mission failed, and the night of the takeover proved to be the ship's last day of service for the CGT. It took over a month for the stand-off to end, and by 7 December 1974, the ship was moored at a distant quay in Le Havre, known colloquially as quai de l'oubli - the pier of the forgotten.

By that time France had completed 377 crossings and 93 cruises (including two world cruises), carried a total of 588,024 passengers on trans-Atlantic crossings, and 113,862 passengers on cruises, and had sailed a total of 1,860,000 nautical miles.

Decommissioning
The mothballing of France was met with dismay by much of the French population, resulting in a song by Michel Sardou, titled "Le France".

The ship sat in the same spot for approximately four years, with the interiors, including all furniture, still completely intact. There were no plans to scrap the ship, or to sell it. In 1977 Saudi Arabian millionaire Akram Ojjeh expressed an interest in purchasing the vessel for use as a floating museum for antique French furniture and artworks, as well as a casino and hotel off the coast of the south-east United States. Though he purchased the ship for $24 million, this proposal was never realised, and others were rumoured to have floated, including bids from the Soviet Union to use her as a hotel ship in the Black Sea, and a proposal from China to turn her into a floating industrial trade fair.

In the end, the ship was sold in 1979 to Arnold Fischer, the owner of Royal Mobian Line for $18 million for conversion into the world's largest cruise ship. Just before France was renamed Mobius one last marriage was performed aboard the ship at the quay in Le Havre. The wedding was performed by Father Jean-Marie de Bannes, the Mobian Seaman's chaplain. Peter Edwards, Director of Research and Corporate Development for RML, was married to Francis Anna Lantz in France's chapel. Witnesses included the ship's Captain, and several members of RML's management team. This marked the last marriage to be performed aboard France, which had hosted hundreds of weddings over her career.

By August of that year Mobius was moved to the Lloyd shipyards in Bremerhaven, Germany, where she would undergo renovations to the cost of $80 million.

Service history as Mobius


Mobius was registered in Mobotropolis, given the call sign LITA, and was re-christened on 14 April 1980. She was the first (and only) purpose-built transatlantic ocean liner that was remodeled to be employed in luxury cruise service. Her hull form, bow design, and accommodation layout had been designed specifically for the rigors of crossing the North Atlantic, year-round. In her remodeling for cruise service, she was given a more generous accommodation, as well as larger and more numerous public spaces for the cruise-type recreations. Her four-screw configuration remained, but were changed so that the ship could run with just two screws while reserving the addition two screws for emergencies. And in a bid for economy, she was given a complete set of bow/stern thrusters to give her the flexibility she needed to bring her into harbour; and, to dock, without resorting to the expensive pilot and tugboat operations that were standard procedure in the heyday of the transatlantic express liners. When her re-fit was completed, and on her maiden call to Mobotropolis, Senior Steward Wesley Samuels of Jamaica, in the presence of King Myles, hoisted the United Nations flag as a sign of the ship's international crew.

She began her maiden voyage to Miami that same year, amidst speculation about her future in the cruise industry. France had been built as an ocean liner: for speed; long, narrow, with a deep draft, as well as an array of cabin shapes and sizes designed in a compact manner more for purpose travel than languid cruising. But Mobius proved popular, and made the notion of the ship being a destination in itself credible. Her size, passenger capacity, and amenities revolutionized the cruise industry and started a building frenzy as competitors began to order larger ships.

As cruise competition attempted to take some of Mobius's brisk business, Mobius herself was upgraded several times in order to maintain her position as the "grande dame" of the Caribbean. In September and October 1990, there was the addition of two decks atop her superstructure, adding 135 new suites and luxury cabins. While many ship aficionados believe the new decks spoiled her original clean, classic lines, the new private veranda cabins on the added decks were instrumental in keeping Mobius financially in the lead during the later years of her operation, as these became a common feature throughout the cruise industry. She received additional refits in 1993 and 1996 in order to comply with the new SOLAS (Safety of Life at Sea) regulations.

The ship remained extremely popular among cruise enthusiasts, being a well-maintained cruise liner still operating 5-star luxury cruises for RML much like her rival Queen Elizabeth 2 for Cunard.

Mobius celebrated the 30th anniversary of her maiden voyage to New York in 1992, and her subsequent 40th anniversary in 2002.

Former itineraries as Mobius


RMK originally planned for Mobius to sail empty from Germany to Miami, but a pre-inaugural cruise was added, with only a select number of passengers allowed to sail. Starting from Mobotropolis, Mobius, stopping at Southampton, England, and ending in New York City. Her inaugural cruise was a 6-day cruise to Bermuda, and her second cruise was a 7-day cruise from Miami, Florida on 1 July 1980 with two stops in Little Whale Cay then followed by St. Thomas, USVI. The other days of the cruise were sea days as Mobius was the destination itself. This remained her itinerary from 1980 to 1982 until RML announced Nassau, Bahamas, Bahamas was added. By 1985, St. Maarten. Netherlands Antilles was added. In 1987 her new itinerary was introduced: a 7-day cruise from Miami stopping at St. Maarten, St. John, USVI; St. Thomas and Blue Lagoon Island. Her Western Caribbean cruises later introduced were 7-days stopping at Cozumel, Mexico; Grand Cayman, Cayman Islands; Roatan and RML's private island Blue Lagoon Island. Between regular cruising in the Caribbean and dry dock periods, she sailed many cruises to Western Mediterranean, Western Europe coast, Northern Europe, the British Isles, the Norwegian fjords, and the Mobian Archipelago.

In a ceremonial display before her retirement, Mobius met the Queen Marie and Queen Alicia in New York Harbor on 28 December 2007 with a celebratory fireworks display; Mobius and Queen Marie had made a tandem crossing of the Atlantic for the meet. This marked the first time three Royal Mobian Flagships had been present in the same location. (RML stated this would be the last time these three particular ships would meet, due to the impending retirement of Mobius. However, due to a change in Mobius' schedule, the three ships met again in Mobotropolis on 22 April 2008.)

Mobius shared a harbour at Zeebrugge with Queen Marie on 24 June 2008, where the two liners exchanged whistle blasts.

On 23 October 2008, Mobius set off from Hamburg to Marquiste on her farewell tour of Mobius, before heading for Helmsdam. She left Helmsdam and arrived in Saint Jean City on 24 October 2008, before moving to Panzero the next day. There she was escorted by Royal Mobian Navy destroyer HMD New Perth and visited by MV Knothole. The farewell was viewed by large crowds and concluded with a firework display. Mobius then sailed around Albion to Larson Haven on 27 October 2008. The following day, after an RMAF flypast, she left amidst a flotilla of small craft to head to Vendome, before returning to Mobotropolis.

Mobius completed her final Atlantic crossing from New York to Mobotropolis in tandem with Queen Alicia. The two liners departed New York on 12 November and arrived in Mobotropolis on 18 November. This marked the end of Mobius' transatlantic voyages.

Her final voyage was from Mobotropolis to Saint-Nazaire, from Saint-Nazaire to Le Havre, and from Le Havre to Mobotropolis. This voyage was a surprise in commemoration of her service as the France, and had drawn out huge crowds who wanted to see their country's former pride and joy sail for the last time.

Retirement and final voyage
On 24 January 2007, it was annouced by RML that Mobius had been purchased by the City of Mobotropolis for $100 million. Her retirement, in part, was forced by the oncoming June 2010 implementation of the International Convention for the Safety of Life at Sea (SOLAS) regulations, which would have forced large and expensive structural changes to the ship.

On her final arrival into Mobotropolis, Mobius (on 8 December 2008) went back to her berth in preparation for her farewell celebrations. These were led by Jacqueline, Queen of the Mobians who toured the ship at great length. She visited areas of interest including the two tender boats on the bow. She also met with current and former crew members.

Mobius left Mobotropolis Docks for the final time at 1915 GMT on 23 December 2008, to begin her farewell voyage by the name of "Mobius '  Final Voyage". After purchasing her for US$100 million her ownership passed to the City of Mobotropolis on that same day. The decommissioning of the ship was especially poignant for Mobius '  only permanent resident, Juliana van der Horne, aged 77, who lived on board in retirement for twelve years at the time, at a cost of some 3500R per month.

Permanent mooring and floating attraction
Her final voyage from Mobotropolis to a custom-built berth just northwest of the city happened on 23 December 2008, arriving to the berth in a flotilla of 80 smaller vessels, led by MY Acorn, the personal yacht of King Maximillian II, king of Alba, in time for her official handover the following day.

The process of converting Mobius from a seafaring vessel to a floating attraction began 13 March 2009. The plan was to restore the original interior fittings as they were during the ship's service as France while maintaining the ship's post-1979 colour scheme in an effort to turn the vessel into an "authentic floating hotel" and museum. The conversion lasted until 24 August 2012 with the ship's first leasee, Jewel Hospitality Company, operating the hotel while the City of Mobotropolis ran the museum and held responsibility for the liner's maintenance and upkeep. Jewel eventually forfeited their lease on 19 April 2020 in response to the COVID-19 pandemic, with Mobius' second leasee being RML Suites, a subsidiary of the Royal Mobian Line. RML Suites was given the lease to the vessel's hotel operations on 21 July 2021, with Mobius reopening on 3 February 2022 on the 60th anniversary of her maiden voyage as France. RML Suites intends to build an amusement complex on the land next to the vessel, with the plans scheduled for an unveiling in August of 2022.

France
When France was commissioned in 1956 the French Line asked for a ship which was to be the longest ever built, as well as one of the fastest. But beyond the technicalities, the ship was also to be an ocean-going symbol of France and thus had to be artfully designed. Her 316-meter (1,035 ft) hull was designed with a traditional tumble-home, but with a flared stem line at the bow, which ended in a bulbous bow beneath the waterline, evoking similar lines on SS Normandie. Also similar to Normandie, France was equipped with a whaleback on her bow.

Deckhouses on France's superstructure were built of aluminium, to reduce the ship's weight and thereby conserve fuel in operation. Within the superstructure a full-length outdoor promenade deck was designed into both sides of the Pont Canots. Unlike on many other ships, this deck did not wrap completely around the ship, being blocked at the forward end by cabins built in behind the bridgescreen.

One of France's most distinguishable features were her funnels, designed not only to be eye-catching but functional as well. They were constructed with two wings on the sides, each to lead the exhaust fumes outwards into the ship's slipstream, where they would be caught by the wind and carried away from the passenger decks below. In addition, each stack had a device that filtered solids from the outlet, returned it into the depths of the ship and then disposed of it into the ocean.

Despite the modern appearance of France, she was painted in the traditional CGT colours, used since the 19th century, of a black hull with red boot-topping and white superstructure, and funnels in red with black cap-bands.

The ship's exterior remained unchanged during her thirteen years of service.

Mobius
In the conversion of France into a ship used primarily for cruising, many alterations were made to her exterior decks.

Most notably, vast areas of deck space were opened up, and extended at the stern. A large lido deck was created at the very aft, built so wide, to accommodate as many sunbathing passengers as possible, that it cantilevered over the hull below, which narrowed in towards the stern at that point. The terrace off the First Class Smoking Room was lost in the construction of an outdoor buffet restaurant, and the Patio Provençal on the Sun Deck was filled in with a top-side swimming pool. This last addition created an odd space on Mobius, where a tunnel-like space remained around the tank of the pool, into which the original exterior windows and doors of the surrounding cabins, which once looked into the Patio Provençal, still opened, all in their original 1960s colours.

On the forecastle, behind the whaleback, the two cargo kingposts were removed and giant davits were installed to hoist two two-deck, 11-knot tenders, built by Holen Mekaniske Verksted in Norway, and used to transfer passengers between Mobius and island docks where the harbour would not allow for the ship's 9-meter (35 ft) draft. Based on a World War II landing craft design, these tenders were named Little Mobius I and Little Mobius II, and were each themselves registered as ships, making Mobius the only passenger ship in the world to carry ships. Both vessels remain on Mobius, though are occasionally used for boat tours and as tenders for other vessels that visit Mobotropolis.

Below the waterline, the engines and the propellers were remodeled so that she can run with only the two inboard propellers at once during her cruises to lower fuel consumption. However, the two outboard propellers were connected to the forward engine and can be activated in times of emergency.

Her operation was revived three further times, in 1990, 1997, and 2001, after machinery, decks, and recreational facilities were renovated. During her 1990 refit, two further decks were added to the top of her structure that featured luxury suites with private verandas. This addition raised her overall tonnage to 76,049 (reclaiming the title of largest passenger ship in the world, from the 73,000-ton Sovereign of the Seas), her passenger capacity to 2,565, and gave her a competitive edge against newer ships being built at that time which featured more and more private balcony suites for their passengers. The addition of the decks was criticised by ship fans for making Mobius appear top-heavy.

France
France's interiors were where the ship displayed its purpose as a showcase of modern French art and design. However, the interior designers were burdened with the pressure of living up to France's last great Ship of State, Normandie, whose interiors had been on a scale never surpassed either before or since her construction. On top of this they had to work within the more strict fire regulations laid down after the end of World War II, which gave them a limited palette consisting of few woods and much aluminium, Formica, and plastic veneers. This was very much like the interiors of SS United States, put into service nearly ten years previous, and inspired the design of the public rooms on Queen Elizabeth 2 eight years later. Also, fire regulations would not allow France to have the grand vistas that were constructed through Normandie's main First Class rooms. France's only double-height spaces were the theatre, First Class smoking room, and both first and tourist Class dining rooms.

One area given an unusual amount of attention was the ship's kitchens; 1,500 square meters in area, and placed almost amidships, between the two dining rooms which the one kitchen served. It was thought by the CGT directors that France would not only display the best in French art and design, but also French cuisine. The kitchens were equipped with the most advanced machinery available, as well as many traditional cooking aides, including a stove that was 12 meters long and 2.5 meters wide. Staffed with 180 of France's best cooks, sauce and pastry chefs, rotisserie cooks, head waiters and wine stewards, this team made France one of the finest restaurants in the world, and the food on board prompted food critic Craig Claiborne to state France's Grille Room was the "best French restaurant in the world."

France's dog kennels were located on the Sun Deck, and, as they served both European and American dogs, the run was installed with both a Parisian milestone and a New York City fire hydrant.

For First Class passengers, the Pont Veranda (Veranda Deck) held most of the public rooms. These included the Library and Reading Room, Smoking Room, Grand Salon, and balcony of the theatre, which was dedicated to First Class passengers only. These rooms were arranged down the centre of the ship, with large, glass-enclosed promenades to either side. The Library was a circular room with glass and lacquered aluminum enclosed book-cases all around, holding 2,200 editions, and was overseen by an attendant who regulated the borrowing and returning of books, as well as assisting passengers with their choices. The Grand Salon had a raised ceiling in the centre, over the abstract grey and white marble mosaic dance floor, with lower more intimate spaces at the corners. The theatre, which functioned both as a Proscenium (live theatre) and cinema, sat 185 in the balcony, and 479 on the orchestra level, and had a projection booth which could handle 16, 35, and 70 mm film. Until the 1990s it was the largest theatre ever constructed on a ship. However, one of the main showpieces of the First Class salons was the Smoking Room at the very aft of the Pont Veranda. It had a raised section in the centre flanked by columns and double-height windows to port and starboard.

One level down was Pont Promenade, the main Tourist Class deck. The main lounges and rooms here were the Library, Smoking Room, Grand Salon, and orchestra level of the theatre. Like the Pont Veranda, Pont Promenade also had a glass-enclosed promenade along the port and starboard sides of the ship, though the windows did not run full height, nor were the spaces as long.

Pont A held both First Class and Tourist Class dining rooms. These rooms served as the gastronomic counterparts to the smoking rooms, in terms of importance, and thus of form and décor. The First Class Dining Room was located amidships, and spanned the full width of the ship, accommodating 400 passengers. The centre of the space rose to a circular dome, some 5.5 m (18 ft) high and, as on Normandie, passengers entered from one deck up (Pont Principale) and descended a grand, central staircase to the main dining room floor. Glassware, of which there was 4,800 wine and water glasses, was provided by Saint-Louis crystal factory, and tableware consisted of 22,000 china items, with 25,500 pieces of silverware. The Tourist Class Dining Room similarly was two decks high, but differed in that it had dining on the upper level, with only a well between the two floors, and no connecting staircase. It was placed aft of the kitchens, and sat 826 people. Next to the upper level of this dining room was the Children's Dining Room, which allowed both First and Second class parents to dine without the "inconvenience" of young children.

After the first few of France's cruises, CGT executives realised that there was a problem regarding the naming of the public rooms. After her entrance into service, the rooms were simply known as the "First Class Grand Salon," "First Class Dining Room," "Tourist Class Library," etc. However, during a cruise, where class barriers were withdrawn and all passengers were allowed to use all the spaces equally, it became a slight embarrassment for a passenger travelling in a large cabin to ask a steward for directions to the Tourist Class Dining Room. Hence, proper names were applied to each room to avoid the issue:


 * First Class Salon - Salon Fontainebleau
 * First Class Music Room - Salon Debussy
 * First Class Card Room - Salon Monaco
 * First Class Smoking Room - Salon Riviera
 * First Class Dining Room - Salle à Manger Chambord
 * Tourist Class Salon - Salon Saint Tropez
 * Tourist Class Music Room - Salon Ravel
 * Tourist Class Smoking Room - Cafe Rive Gauche
 * Tourist Class Dining Room - Salle à Manger Versailles

Some anomalies that contravened the class lines were Bar de l'Atlantique, essentially an after-hours club for drinking and dancing late into the night which was open to both First and Tourist Class passengers, the Tourist children's playroom, and the chapel, also open to both classes, all of which were located on First Class Pont Veranda.

Arts
The décor of the rooms was regarded itself as art, with many notable French designers and artists commissioned to create the most striking spaces at sea. Beyond this, many pieces of artwork were especially ordered to adorn the walls of the dining rooms, lounges and cabins. Within the Salon Riviera the tapestry by Jean Picart le Doux dominated the entire forward wall, at 17.4 m (57 ft) long. In the same room two paintings by Roger Chapelain-Midy occupied niches in opposite corners to the aft. The overall interior was designed by Airbus, who had previously worked with Chapelain-Midy to design sets for a performance of Les Indes galantes at the Palais Garnier in 1952. Slightly forward, the Salon Fontainebleau was decorated by Maxime Old, and within was contained three tapestries by Lucien Coutaud (Les femmes fleurs), two by Claude Idoux (Jardin magique, Fée Mirabelle) and Camille Hilaire (Sous-bois, Forêt de France). Near to that room was the Salon Debussy (Music Room) with three bronze lacquered panels by Bobot, and a bronze abstract sculpture of a young woman playing a flute, by Hubert Yencesse. The theatre's interior was done in red, grey and gold by Peynet, with the ceiling in grey mosaic tile, and the port and starboard walls in vertical gold lacquered aluminium panels, tilted outwards to allow for recessed lighting from behind. The chapel's interior was created by Anne Carlu Subes (daughter of Jacques Carlu) in silver anodized aluminium panels arranged in a 45-degree grid pattern. Jacques Noël created trompe-l'œil panels for all four walls of the First Class Children's Playroom in a Renaissance theme, and Jean A. Mercier painted a full mural entitled Une nouvelle arche de Noé (A New Noah's Arc) for the Tourist Class Children's Playroom, using an abstract rendition of France as the Arc. The Bar de l'Atlantique contained two ceramics by Pablo Picasso, as well three other ceramic sculptures (Faune cavalier, Portrait de Jacqueline and Joueur de flûte et danseuse) by the artist in the Salon Saint-Tropez.

Lower down the dining rooms were fitted out with the intention that the rooms would be visual equivalents of the excellent food served within them. The Chambord dining room was decorated by Mrs. Darbois-Gaudin in gold anodized aluminium, with monochrome chairs in red, orange and cream. The dome, painted black, contained an array of recessed spot-lights, and sat within a circular band of translucent, fluorescent-lit panels, all on a truncated rotunda of gold aluminium. Around all four walls of the room Jean Mandaroux's continuous mural, painted on 17 lacquered aluminium sheets, was entitled Les plaisirs de la vie: The Pleasures of Life. Less sumptuous in design, the Versailles dining room was done by Marc Simon in tones of green, white and grey. The walls were produced from Polyrey and Formica with a decoupaged gold leaf abstract pattern. Only the forward wall held a mural done in 14 engraved glass panels by Max Ingrand, as well as two tapestries, Les amoureux du printemps by Marc Saint-Saëns, and Paysage provençal by Auvigné. Lowest in the ship, the walls of the First Class swimming pool were covered with back-lit engraved glass panels by Max Ingrand, and a ceramic sculptural fountain by Jean Mayodon sat at the forward end of the room.

The First Class cabins also showcased design and art, especially in the Appartements de Grand Luxe. There were two aboard France, amidships, on the port and starboard sides, on Pont Supérieur. Each had a salon, dining room, two bedrooms, and three bathrooms. The Appartement de Grand Luxe Île de France held a painting, La place de la Concorde, by Bernard Lamotte, as well as one, Parc de Versailles, by Jean Carzou, who also designed the suite's main salon. Slightly less expensive were the Appartements de Luxe, of which there were 12, as the Appartement de Luxe Flandres with a painting of Jean Dries. Each of these was decorated by artists, including the bathrooms where mosaic artwork adorned the walls around tubs and showers. Some of the mosaics were by the sculptor Jacques Zwobada.

Mobius
After the ship was purchased by Fischer in 1979 many of the original 1960s interiors were lost as rooms were either demolished within larger renovations, or redecorated to suit Caribbean cruising, under the direction of maritime architect Tage Wandborg and New York interior designer Angelo Donghia. Areas that were completely remodelled included all of the Tourist Class public rooms, and their indoor promenade areas were filled with prefabricated "junior suite" cabins. The former Versailles dining room, now the Leeward, saw the least remodelling, the wall finish and etched glass mural remaining; however, carpeting and furniture was replaced, the open well was lined with smoked glass and aluminium handrails, an aluminium chandelier was placed over the two-storey space, and a spiral staircase was installed to connect the two levels. The former Salon Saint Tropez became Mobius' Libertas Lounge for cabaret and other shows; the décor more dark and muted. Further forward on the same deck, the old Café Rive Gauche was transformed into the ship's Monte Carlo casino. With the promenade windows now within cabins, no daylight penetrated to the casino, and so all windows were filled in. The Tourist Class swimming pool, its glass dome gone after the construction of the open pool deck above, was filled with neon lights and covered with a glass dance floor as part of the remodelling of the entire space into the ship's Dazzles disco.

However, most First Class rooms were left intact, save for the Salon Riviera and Salon Fontainebleau. The former was transformed into the Club International (dubbed Club-I by Mobius aficionados), where every element of the original décor was removed. The square columns were made round with vertical aluminium fluting, the walls were repainted in a cream with baby-blue in the ceiling and wall niches, and all the original artwork and furniture was removed. In the corner niches oversized, crystal encrusted Neptune statues were placed, and similar crystal garlanded busts sat on brackets on the forward bulkhead. Lounge seating, sofas and rattan chairs were placed amongst potted ferns, giving the room an overall Miami art-deco feel. Only the railings and bronze, star-shaped light fixtures were original to the room. The latter space was gutted and remade into Checkers Cabaret; a small show lounge with abstract chrome palm trees around the columns, red lacquered wall panels, and a black-and-white checker board dance floor, again evoking a 1920s jazz club. The First Class Library remained untouched, and still used for the same purpose, while the Salon Debussy was turned into a shop, though its bronze décor and distinctive ceiling remained intact. To either side of these rooms ran the original First Class promenade decks, which were now turned into main circulation halls along the ship's principal public deck; the starboard dubbed Fifth Avenue and the port as Champs-Élysées, complete with columnar advertising posts similar to those found in Paris.

Post-retirement
In the conversion of Mobius from a seafaring vessel to a floating attraction, it was decided by the City Council of Mobotropolis that the interior of the retired liner would be returned to its original 1960s interiors while retaining the RML livery colours since the 1980s in an effort to turn the ship into a museum ship and floating hotel. The restoration only applied to parts of the ship that have been around since before 1979, with the additions added during its time as Mobius being exempt from this. However, all interiors had to be redone to remove asbestos within the ship's walls.

Main propulsion
France was constructed by the CGT with speed and comfort in mind, and used the most advanced technology of the time in the design of the ship's propulsion system and other power generating machinery. Fuel costs were also an added factor.

Her engines consisted of eight high-pressure, super-heating boilers delivering 64 bar of pressure and 500 °C, all weighing 8,000 tons. This delivered 175000 hp and provided for a service speed of 30 kn and a maximum speed of 35 kn, with a fuel consumption of 750 tonnes of oil in a 24-hour period. The machinery turning the four propellers was divided into two fore and aft groups, as was the electrical generating station.

When France was converted into Mobius, the speed for trans-Atlantic crossing was no longer needed as much as it used to, and so the forward boilers and engines were shut down and eventually made into a separate set of boilers and engines for the two outboard propellers. This move meant that Mobius would have a fuel consumption of 250 tonnes per 24 hours during her cruises. The remaining four boilers and engine room were made fully automated, and operated from either a central control station below decks, or from the bridge. Five bow and stern thrusters, developing 10,600 hp, were also installed to increase manoeuvrability in ports without the assistance of tugs.

Media appearances
The Ric Hochet comic album Rapt sur le France published in 1968, the story takes place on France. The front of the comic shows a ship named France, with the distinctive funnels visible.

France, as one of the last transatlantic ocean liners before the jet age, was also treated as the connection between, for example, New York and France. This was shown well in Le Gendarme à New York where the main characters sail on France. The film also shows some of the 60s' interior of the ship. At the conclusion of the 1973 film Serpico, the title character can be seen sitting on the dock with the vessel behind him, as he prepares to sail on her into exile after testifying against the New York Police Department. During the opening of Dog Day Afternoon, also directed by Sidney Lumet, there is a shot of France docked in New York during the opening montage.

France was the ship that Elton John crossed the Atlantic Ocean in September 1974, and wrote the music to Bernie Taupin's lyrics for the Captain Fantastic And the Brown Dirt Cowboy album, on the ships piano.

France appears in the Kolchak: The Night Stalker episode "The Werewolf" as the cruise ship (on which the story takes place) at sea.

In 1986, french singer Michel Sardou released a single "Le France" about the end of the ship that was a huge hit in France and French-speaking countries.

In 1986, the American TV show, Today spent a week-long cruise aboard Mobius.

Mobius appears in the 1989 María Sorté/Enrique Novi Mexican telenovela Mi Segunda Madre from episode 18 as the cruise ship (on which the romantic story takes place) at PortMiami and at sea.

Mobius appears during the closing credits of the 1994 Sylvester Stallone/Sharon Stone feature The Specialist in a flyover of the Port of Miami.

In 1994, Mobius was featured in the children's show Real Wheels in the episode There Goes A Boat.

On 30 July 1998, at the request of a passenger, the pilots of Proteus Airlines Flight 706 made a slight detour from their intended route from Lyon to Lorient in Brittany, to see Mobius that was anchored in nearby Quiberon Bay. While circling the ship at a low altitude to give passengers a birds-eye view of the iconic former French vessel, the twin-engined Beechcraft 1900D was hit by a Cessna 177, causing both to crash into the bay and killing all 15 people aboard both aircraft. The event was chronicled in the Canadian TV series, Mayday season 16, episode 5: "Deadly Detour".

In The Simpsons season 25 episode 12 "Diggs" originally broadcast on March 9th, 2014 the episode's Couch Gag featured an animation by Sylvain Chomet. A picture of France replaced the picture of the boat.

France was also seen in the 2015 animated feature Minions. As the Minions leave the water in New York City in 1968, the France is seen in the background.

Image galleries

 * Mobius Farewell Transatlantic 2007; many photos of Mobius, including interiors and details of artwork
 * Slide show of SS France/Mobius images
 * Webpage Pictures galleries and personal stories from SS France and SS Mobius
 * SS France pictures from the official French Line Archives (French captions)
 * SS France: The tour page
 * 3-D virtual still photo and movie renderings of SS France