LOST HORIZON (1973)

Title: LOST HORIZON

Year of Release: 1973

Director: Charles Jarrott

Genre: Fantasy, Drama

Synopsis: When a plane crashes in the Himalayan mountains holding several American and European passengers, they are led to safety into a mystical Eastern sanctuary named Shangri-La.

Within a film history context: Movies exploring people in a foreign place, many times not being there of their own volition, with consequent difficulties, acceptance, or disavowal of this predicament, have been periodically featured in cinematic history. One of the first to deal with the subject was W.S. Van Dyke's WHITE SHADOWS IN THE SOUTH SEAS (1928). In this movie, a doctor stranded on a tropical island takes issue with the treatment of the natives by white inhabitants. A battle of the sexes ensued in DANGEROUS PARADISE (1930) directed by William Wellman. Here, a man and a woman lock horns on a tropical island, with many perilous and suspenseful moments abounding. With Bert Glennon's PARADISE ISLAND (1930) matters were of a different nature, this time set in Tonga. A young woman discovers her fiancé is a dipsomaniac, and the interest in her of three other men sets in motion a complicated love quadrangle. The first version of LOST HORIZON (1937), directed by Frank Capra, looked at the premise of varied personalities on an airplane which crashed in Tibet, and how they are escorted to a paradise called Shangri-La. The drama surrounded how they handled their stay in Shangri-La, and that while some took the place of serenity and kindness into their hearts, others resented it. Apart from LOST HORIZON, one of the most famous entries in the genre arrived at the end of the decade.

THE WIZARD OF OZ (1939) is perhaps the most loved of these movies, with Judy Garland at her finest. A young girl in Kansas is transplanted into a magical land called Oz where she meets with a number of both lovable, and some not so lovable characters. With directing duties handled by such legends as Victor Fleming, King Vidor, George Cukor and several others, it is a spirited, touching film that has an enduring appeal to viewers of all ages. SWISS FAMILY ROBINSON (1940), directed by Edward Ludwig, was the story of a family who have been shipwrecked on a desolate island, trying to piece together their lives with this unexpected event. Starring Thomas Mitchell, with Freddie Bartholomew as the juvenile lead, it was later remade in 1960 with Dorothy McGuire and John Mills.  SOUTH OF TAHITI (1941), directed by George Waggner, as with LOST HORIZON, began with a plane crash, but this time, in Tahiti. Romance and intrigue follow as a survivor falls for an island girl, with his fellow passengers seeking to claim the island tribe's treasure. Towards the end of the decade, Frank Launder's BLUE LAGOON (1949) arrived for audiences. This tale of two adolescents shipwrecked on an island, and subsequently falling in love, was later remade in 1980 with nudity and sexual elements, but healthy box-office results. Into the 1950s, several major films were released on the theme.

Romance was again the main crux of THE ADVENTURES OF SADIE (1953), directed by Noel Langley, with Joan Collins starring as a young woman stranded on an island, with three men vying for her attentions. Again with Joan Collins was Bob McNaught's SEA WIFE (1957). In this film, a ship with British subjects aboard is sunken by the Japanese, with three male passengers and one woman, being Miss Collins - who is a nun. In a similar style THE LITTLE HUT (1957), directed by Mark Robson, looked at three shipwrecked people, one woman, and two men, with a love triangle forming out of this situation. Much more comical was Lewis Gilbert's PARADISE LAGOON (1957), also known as THE ADMIRABLE CRICHTON. With the spunky Diane Cilento in the lead female role, it centred around a Lord and his family who are shipwrecked on an island, where class conflict emerges, and people put to the test. The second filming of a property first filmed in 1918, THE ADMIRABLE CRICHTON was also screened in other versions through the years such as a telemovie in 1968. Another story with a humorous twist was DON'T PANIC CHAPS! (1959), directed by George Pollock. In an Adriatic island during World War II, English and German soldiers cohabit well until a young woman's arrival disrupts the relative calm. Another British farce with comedy on its mind, it rounded out the films from the 1950s with the subject, the difference being that the soldiers were on assignment, and not there as a result of an accident.

Into the 1960s, more distinctive films, mainly with shipwreck dilemmas, were released. Cy Endfield's MYSTERIOUS ISLAND (1961) was set during the American Civil War, and followed the story of several soldiers and confederates avoiding problems by fleeing in a balloon, but facing mayhem on an island. LORD OF THE FLIES (1963), directed by Peter Brook, took matters in another direction. Young boys stranded on an island, and forced to age before their time was the narrative pull for this movie, shot in stark black and white, and featuring a talented group of teenage actors. Things were much lighter in tone in Ralph Nelson's FATHER GOOSE (1964). In this film, Cary Grant lives on a remote island during the second world war, and a key part of his duties is looking out for a teacher and students, thus bringing the comedy, and romantic, elements into view. More thoughtful was ROBBY (1968), directed by Ralph Bluemke. A shipwreck is the impetus for a burgeoning friendship between two young boys, one white and one from the island, where a number of issues play out for the youngsters. 

War themes were again presented, as with DON'T PANIC CHAPS!, in John Boorman's HELL IN THE PACIFIC (1968). Starring Lee Marvin and Toshiro Mifune as an American pilot and Japanese naval officer stranded together on a island, it was a tense, well-acted portrait of two men coming to terms with each other, and their situation. In a more exploitative vein was THE SIN OF ADAM AND EVE (1969), directed by Miguel Zacarias. The classic fable was updated for a late 1960s audience with lashings of nudity, but of no real enduring, or edifying meaning. LOST HORIZON, in contrast with these films, explored its story of strangers in a foreign place with sensitivity over its two plus hours on screen.

Without doubt, the LOST HORIZON of 1973 has the most in common with the LOST HORIZON of 1937 in that both are multi-character narratives, and show in detail the reactions of the plane crash survivors to their stay in Shangri-La. This is the beauty of both versions, making clear why the characters feel and act the way they do, without ever becoming maudlin, or heavy-handed. While it may be argued that the characters were stereotypes, the strength of the acting did away with this assumption, and a reminder that this film was intended as escapism. LOST HORIZON, with its multi-character structure, is also unique with its attitude to love and romance. While several of the above films were about love triangles or quadrangles, with participants vying for the attention of either a man or woman, LOST HORIZON showcased various love stories. In these stories, there was no third party making their presence felt; what brought out the conflict for the characters were their actions, and views on life. Other aspects of the film are worthy of examination.

There was also the targeting of specific age groups with the love stories, with two more mature couples, and a younger duo to cover different audience segments. While this might seem a trifle, it was a nice contrast between the action that worked in the film. LOST HORIZON was also distinctive in that it had a more spiritual slant than other examples, THE WIZARD OF OZ possessing that same emotional power. Again as with THE WIZARD OF OZ, which was also a musical, LOST HORIZON's musical numbers shared information about the characters which added to the film as a whole. While the original LOST HORIZON was a straight drama, the second version's inclusion of musical numbers gave it a more relaxed aura, and a break between heavier scenes. A film that makes no aspirations to be high art, but instead aims to entertain, something which it achieves, LOST HORIZON is a very charming way to pass the time.

Overview: In his career, British director Charles Jarrott helmed thirteen feature films, with many telemovies and episodes of television series between these. His first film, A TIME TO REMEMBER (1962) was a suspense drama about a robbery and how the burglars conceal the jewels. It was a film that came in at just under an hour in length, and Mr Jarrott did not make another film until later in the decade, concentrating on his television output. In 1969, Mr Jarrott made what is possibly one of his most famous films, and the first to display his ease with historical films and settings - ANNE OF THE THOUSAND DAYS. Starring Richard Burton as King Henry VIII, it followed his anger at wife Catherine of Aragon's failure to produce him a son, abandoning her for Anne Boleyn. Mr Jarrott followed this film with another based on historical events, being MARY, QUEEN OF SCOTS (1971). Centring upon the relationship of Queen Mary with her cousin, Queen Elizabeth I of England, it gave both Vanessa Redgrave, and Glenda Jackson, the opportunity for meaty roles, and Charles Jarrott a higher profile in cinema. The 1970s was a decade in which Mr Jarrott made the majority of his films, with varied themes and content. 

THE DOVE (1974) was a change of pace for Mr Jarrott, in a contemporary story of a teenager who sails solo around the world in a boat, the dove of the film's title, finding romance with a young woman on the way. THE LITTLEST HORSE THIEVES (1976) was a family movie about a coal-mine, and how three children scheme to save the pit ponies which are slated to be killed, in light of the mine's move to mechanization. Next came one of Mr Jarrott's most commercially successful, if critically lamented movies, THE OTHER SIDE OF MIDNIGHT (1977). Based upon a novel by Sidney Sheldon, it was about a young French woman torn between her first love, a soldier in World War II, and her Greek billionaire lover. With a long running time the film was somewhat laden at times, but the popularity of its source novel, and the presence of spicy sexual content and nudity, ensured success, as well as the spirited performance of Susan Sarandon. 

At the other end of the spectrum, it was back to family films with THE LAST FLIGHT OF NOAH'S ARK (1980). An airplane transporting animals has to land on an island, but the plane has to be altered into a boat to ensure the animals, and everyone on board is safe. THE AMATEUR (1981), was a thriller involving intrigue, murder, and the CIA that was handled by Mr Jarrott in a dignified manner. There was a return to real-life stories in THE BOY IN BLUE (1986). This film was about Canadian athlete Ned Hanlan, who was a champion sculler, set in the late 1800s. CONDORMAN (1981) starred Michael Crawford in a comic film about how a cartoonist assumed the mantle of his fictional character, with forays into espionage. Mr Jarrott's final film, TURN OF FAITH (2002) was a crime drama about three men and their friendship over the years, with a stunning realization arriving for them when they least expected it. LOST HORIZON was one of Charles Jarrott's best films, but, unfortunately, has been sidelined somewhat by its critical reception, which has largely overshadowed the picture's many virtues.

Mr Jarrott has taken James Hilton's classic story and given it a graceful, fluid treatment in LOST HORIZON. While the film has been compared on multiple occasions to the 1937 version directed by Frank Capra, Mr Jarrott's version is one remake that has not tarnished the memory of the original film. Several things, though, have to be made clear from the onset. The first film was shot in black and white, and made during Hollywood's golden era by a renowned director, with many classics movies to his credit. Charles Jarrott would always be seen as filling tall shoes by attempting to make lightning strike twice with his version of LOST HORIZON, but, despite some lapses, it is a very good film on its own terms. This colour, widescreen remake of the film is beautiful to witness and listen to, with much more realistic special effects than the original picture which add verisimilitude, and punch, to the proceedings. The sets and costuming are all authentic, and appear to have had serious money spent on them, which also gives LOST HORIZON a depth beyond the story itself. 

Much has also been made of the inclusion of musical interludes, thus converting LOST HORIZON into a musical. While some of the musical pieces do not gel with what is taking place onscreen, those that do add an ethereal aura which is in keeping with the film's theme of people seeking, railing against, or finding their slice of paradise. With its leisurely pace and beautiful presentation, LOST HORIZON has more in common with Charles Jarrott's historical films such as ANNE OF THE THOUSAND DAYS and MARY, QUEEN OF SCOTS, with an especial connection to his picture THE DOVE, in that it is a reflective work of people being tested, and finding what they want in life. One of Charles Jarrott's most distinctive films, and one of the best remakes of a classic film ever shown to audiences, LOST HORIZON is a thoughtful, relaxing movie that deserves a higher reputation than what it has had until now.

Acting: The acting in LOST HORIZON is of a very good standard, but several performances stand out in particular. Peter Finch, as Richard Conway, is authoritative and commanding, the perfect lead actor for the film. His thoughtful and elegant manner adds just the right touch to the movie, a logical choice as a modern-day take on Ronald Colman from the original. It is interesting to note his chemistry with Michael York, who portrayed his brother George in LOST HORIZON, with both actors seeming to gel very well on screen. Michael York also does an excellent job in the movie as the ambitious younger brother of Peter Finch. His deep voice and raw passion work exceptionally well in the movie, presenting a contrast between the two brothers. Three other players are also excellent in their portrayals in the film.

Song and dance man Bobby Van is wonderful as Harry Lovett, bringing a feeling of sprightly fun to LOST HORIZON. His musical number is infectious, and one that sets the toes tapping with his energy, and enthusiasm. John Gielgud is majestic as Chang, delivering his dialogue with his crisp diction, and adding class to LOST HORIZON. The final player of note was Olivia Hussey as Maria, the young woman who captures George's imagination. With a combination of innocence and wisdom, Miss Hussey brings her wistful character to life, and makes the outcome for Maria all the more striking towards the film's conclusion. 

Soundtrack: The songs composed by Burt Bacharach and Hal David are pleasant to listen to, but some songs are more memorable in looking back over the film as a whole. 'Share the Joy' performed by Olivia Hussey, is striking, with a melancholy, somber tone. 'Question Me an Answer' sung by Bobby Van, is entirely different, reminiscent of classic Hollywood musicals of the 1940s and 1950s with its effervescent delivery and joie de vivre. The LOST HORIZON theme song performed by Shawn Phillips played at both the beginning, and at end of the film, sums up the movie's objectives, and when repeated at the conclusion, ties up the movie neatly.

Mise-en-scene: As with other films produced by Ross Hunter, LOST HORIZON has excellent production values. The special effects are excellent, with the plane crash and mountain scenes captured with realism. Costuming and sets are also first-rate, the clothing appropriate for the performers, courtesy of Jean-Louis, and the production design seeming as if everyone really is in a fantastical, faraway land. Metrocolor has also been carefully used in LOST HORIZON, with scenes such as the Shangri-La musical and dance segments, with dancers twirling red ribbons flying in the wind, standing out. The photography by Robert Surtees captures everything beautifully, and another great example of this fine cinematographer's work. The film overall is colorful but never garish to watch, and sensibly measured in this respect.

Award-worthy performances in my opinion: Peter Finch, Michael York, Bobby Van, John Gielgud, Olivia Hussey.

Suitability for young viewers: Suitable for children. Mild adult themes.

Overall Grade: B

Link: IMDB Page

Trailer