INTERVIEW WITH FILM EDITOR GEORGE FOLSEY JR.

George Folsey Jr.

Today I have the happy pleasure of welcoming a very special guest, film editor George Folsey Jr., to CINEMATIC REVELATIONS for an interview. George has edited a great many movies over the years, some of these including HAMMER, BLACK CAESAR, GLASS HOUSES [my review of the film can be found here] and J.D.’s REVENGE, considered one of the best Blaxploitation genre films, the high grossing NATIONAL LAMPOON’S ANIMAL HOUSE, international box office success COMING TO AMERICA, and CHEAPER BY THE DOZEN, one of Steve Martin’s biggest hits. 

George Folsey Jr., John Landis in Rick Baker's monster makeup, and George J. Folsey 
on location shooting John Landis' first movie SCHLOCK

George is the son of famed cinematographer George J. Folsey, who photographed such classics as ANIMAL CRACKERS, THE GREAT ZIEGFELD with William Powell and Myrna Loy, MEET ME IN ST. LOUIS and THE HARVEY GIRLS, both Judy Garland hits, Spencer Tracy and Katharine Hepburn vehicle ADAM’S RIB, SEVEN BRIDES FOR SEVEN BROTHERS, for which George Sr. received one of his Academy Award nominations, and setting the record for Radio City box office for decades, STATE OF THE UNION, and TILL THE CLOUDS ROLL BY, a popular all-star musical, again with Judy Garland. 

George Folsey Jr. with son Ryan Folsey

George Jr.’s son Ryan is also an editor, with successful horror comedy CABIN FEVER, hit Kristen Bell comedy WHEN IN ROME, the animated ALVIN AND THE CHIPMUNKS: THE ROAD CHIP, and SCOOB some of his editing credits.

George also had a notable collaboration with John Landis, editing solo, or co-editing several of his movies including horror film SCHLOCK, THE BLUES BROTHERS, another enormous hit, and COMING TO AMERICA. He also produced nine of Mr Landis’ films such as comedies THREE AMIGOS, TRADING PLACES, both financial successes, and black comedy INTO THE NIGHT. One of their most famous teamings was for the spectacularly successful Michael Jackson ‘Thriller’ music video directed by John Landis, which George co-edited with Malcolm Campbell. In this post, George will be discussing his multiple roles in the making of GLASS HOUSES, which marked his debut in films, and providing other information about this fascinating, but little-seen motion picture. Welcome to CINEMATIC REVELATIONS George!

George Folsey Jr.

Athan: How did the concept of GLASS HOUSES eventuate, and how did you become involved in this project?

George: My dad was teaching at AFI and I think he met Alex Singer there. They had never worked together. Alex discussed a script that he and his wife, Judy had written and they came to me. Alex thought we could make the movie cheaply so we used our contacts to put together a crew of young upcoming guys and girls and got the IATSE to let us all work non Union. My dad put up some money and I raised the rest of the $100K budget from friends at our Golf Club. 
 

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Athan: In GLASS HOUSES you not only were responsible for the editing but also, was the film’s producer, and camera operator, shooting one-quarter of the movie handheld with the Éclair camera. How did it feel at the time taking on so many duties for this production?

George: I went to Pomona College and graduated with a degree in English Lit. There was no Film School at Pomona so GLASS HOUSES was my Film School project. I had worked at KABC-TV cutting the news and documentaries but never a feature. I did spend 6 months at MGM working as an assistant editor to Henry Berman, a famous editor who had worked with my dad. Together we worked on GRAND PRIX and Henry won an Academy Award for his work on it. He taught me his editing system which I've used throughout my career. We decided to shoot with an Eclair 35mm camera in a blimp for the dialogue scenes. My dad got a Worrell gear head from MGM and I would practice by having my wife, Belinda walk around our living room and I would try to follow her. I got better with practice. I did shoot about 25% of the movie hand held. The Eclair, without the blimp, was great for this. I definitely felt the pressure watching the money and it was a long shoot, 10 weeks. We ran the dailies silent at MGM as it was too hard to sync them each day. I learned a lot about my operating as there was no sound to distract from my camera work.
 

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Athan: What did you most enjoy about the experience of making GLASS HOUSES?

George: The best part of making the movie was getting to work with my dad who was very helpful. We shot another movie, BONE, in the same fashion.

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Athan: Which for you were the most demanding, but emotionally satisfying moments of filming GLASS HOUSES?

George: We shot maybe 50% of the movie in the house my wife and I were renting. We had a 2 month old daughter and Jennifer O'Neill was staying with us as we had no money for hotels. She was a pleasure and very helpful. I liked it when my dad said I'd done a good job after running the dailies.
 

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Athan: I was always struck by Ann Summers, who played Adele in the picture, Victor’s wife and Kim’s mother, and the moving nature of her performance. There is very little written about her, and she remains to this day an intriguing, mysterious presence. What was the experience of working with Miss Summers in GLASS HOUSES?

George: As a Producer, you couldn't ask for a better cast member than Ann Summers! She completely got the part and was such a pleasure. We became close friends and I so saddened by her early death in 1974.
 

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Athan: The casting of GLASS HOUSES was first-rate, especially with the afore-mentioned Ann Summers, Deirdre Lenihan, Clarke Gordon, and Mary Carver, for me, being the most striking choices. Was it a difficult process to cast for this movie, or did certain performers make their presence felt from the start?

George: Most of the casting was done in New York by Singer and Joel Steinberger. Deirdre Lenihan and Clarke Gordon clearly stood out.
 

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Athan: The editing in this film is of a superlative nature, with special mention being for the final few minutes of GLASS HOUSES featuring Deirdre Lenihan and Bernard Barrow. In this short space of time, a complicated montage of shots was assembled, whereby the viewer was thrown off balance by space and time, and exactly what was taking place, and which character’s point of view is being expressed. How did it feel editing these intricately detailed sequences?

George: I haven't seen the final sequence in many years but I made a pass at it and Alex and I refined it. He was a pro and I had little trouble in editing the movie as I was able to use the Henry Berman system to great advantage.
 

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Athan: GLASS HOUSES was shot in many real-life locations, such as the Beverly Hills home in which you and your family lived in at that time, and the Topanga Center for Human Awareness. What were some of the logistical challenges posed by shooting the film in this manner?

George: We couldn't afford to shoot anything on a sound stage so everything was shot in practical locations. I remember shooting Bernie Barrow and Jennifer [O'Neill] driving down Melrose Ave. I was strapped in and surprised to see a Policeman in my finder at the end of the shot. Got cited...
 

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Athan: Have you kept in contact with any cast members and crew from GLASS HOUSES?

George: Sidney Baldwin who shot stills on the production worked on a couple of movies I produced with Landis. Jason Starkes who worked as a grip wrote JD'S REVENGE which I edited. Eric Roth who wrote FORREST GUMP, was our Lighting Gaffer. Esperanza Vasquez was our script girl. She and her husband were producers on a movie I edited in the 70's. It was such a pleasure to work with all these young people many of whom went on to successful careers in the Industry.
 

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Athan: A cast member of the movie, T.J. Halligan, was credited as passing away the same year GLASS HOUSES was shot, being in 1970. Could you enlighten us on what effect this event had on the making of the movie?

George: We were all sad to hear of the passing of T.J. Halligan but it didn't have an effect on the movie. Actually I think GLASS HOUSES was filmed in 1969.
 

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Athan: GLASS HOUSES has unfortunately largely faded into obscurity, and has never been released on either VHS or DVD. What do you think is the reason for this?

George: Considering we sold the movie to Columbia its hard to understand why there are no 35mm prints, no VHS or DVDs and where is the cut negative? I've spoken to a close friend at Columbia to try to find some element to make something but to no avail. It isn't a great movie but it's well made. Not sexy enough to qualify as an "Art" film and too sophisticated for popular release. Also, there was no Star in the cast to help the Box Office.
 

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Athan: Do you have any upcoming projects of which you would like to tell readers?

George: I'm producing a Faith/Based movie called GOD'S GONE FISHING which I hope to shoot in the late summer of 2021.
 

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Thank you so much today for your time George, and for the valuable insights you have provided into film editing, GLASS HOUSES, film editing, and production. It has been wonderful to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Thank You Athan for letting me be a part of CINEMATIC REVELATIONS!!!
 

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George Folsey Jr. links

+George Folsey Jr. IMDb Page

+GLASS HOUSES IMDb page

RIOT (1969)

Title: RIOT

Year of Release: 1969

Director: Buzz Kulik

Genre: Drama

Synopsis: In an Arizona prison, inmates attempt to break out of jail by initiating a riot, which has violent results.

Within a film history context: Films about prison riots, or in similar correctional facilities, have been present in cinema since the 1930s. One of the first to deal with the topic was George W. Hill's THE BIG HOUSE (1930). Romance and emotions boil over in the story about how a jailed man falls for his cellmate's sister, and becomes involved in a prison riot. In a much more comical vein was PARDON US (1931), directed by James Parrott, with Stan Lauren and Oliver Hardy placed in the Big House after selling liquor to a policeman during Prohibition. This Laurel and Hardy vehicle has a mild prison riot in keeping with the nature of the material, and the comedians' past work, but is notable for both the theme, and their participation. Different in nature was Lew Landers' CONDEMNED WOMEN (1938). A young shoplifter begins a romantic relationship with her prison psychiatrist, but when told to end this, she becomes part of a jail riot in retaliation. The film is interesting as it featured a female prisoner as the lead character, ably portrayed by Sally Eilers, with Louis Hayward as the presentable doctor. 

REFORMATORY (1938), directed by Lewis D. Collins, took matters in another direction. The death of a young boy is the impetus for a change in a reformatory's management, with a new man taking the reins. Poor conditions at the reformatory cause the inmates to riot, and the new man institutes changes to bring about peace in the facility. The kindness of this man comes under fire when a number of unexpected incidents occur, placing his management of the reformatory under the spotlight. On the other hand, Jules Dassin's BRUTE FORCE (1947) followed the power struggle between a prisoner and the ruthless chief guard. Tensions rise which result in a violent prison riot with deadly consequences. Starring Burt Lancaster, with a cast including Hume Cronyn, Charles Bickford and Yvonne De Carlo, it was an example of this director's great works. The 1950s had further varied depictions of prison riots for audiences to ponder.

CAGED (1950), directed by John Cromwell, was a woman in prison film which were periodically featured in the 1950s, particularly in exploitation cinema, but was, in this instance, a Warner Brothers production. It was about a young woman involved in a shoplifting incident which goes very wrong, but has a prison riot related to a kitten that causes anguish for the main character. Don Siegel's RIOT IN CELL BLOCK 11 (1954) was most in sync with the prison riot theme, with poor living conditions at a jail inciting a riot amongst inmates, and issues with the prison hierarchy. Helmed by Don Siegel, famous for DIRTY HARRY (1971, it was another example of his daring movies. THE GREEN-EYED BLONDE (1957), directed by BERNARD GIRARD, shared similarities to REFORMATORY by manner of its reformatory setting, and CAGED, in that a female character was involved. Where the film moved away from others was in that it focused upon intrigue in the facility, especially how a kidnapped baby causes a riot in the institution, with tragic repercussions. R.G. Springsteen's REVOLT IN THE BIG HOUSE (1958) delved into the planning of a prison riot and consequent escape, but differed in that one of the participants harboured reservations about the plan. It was similar to both BRUTE FORCE, and RIOT IN CELL BLOCK 11, in the behind the scenes view of a prison riot. The 1960s also had several movies which explored the prison riot theme.

SO EVIL, SO YOUNG (1961), directed by Godfrey Grayson, was the story of a young girl in a reform school framed for a crime with which she had absolutely no involvement, and included a short prison riot sequence. The separation of a mother and her child was the main element in Crane Wilbur's HOUSE OF WOMEN (1962). In this movie, a falsely accused woman is in jail, and gives birth to her child, but the cruel prison rules enforce the baby to be taken away from her, which provokes a riot on the part of her fellow inmates. With a cast including Shirley Knight in the lead role, supported by Constance Ford, Jeanne Cooper and many others, it was a showcase for these talented actresses. THE LONELINESS OF THE LONG DISTANCE RUNNER (1962), directed by Tony Richardson, also showed a brief riot scene, this time set inside a reformatory for young men. RIOT, in comparison to these movies, was a film where the prison riot took up a great deal of screen time, the director exploring this incident in detail.

As in RIOT IN CELL BLOCK 11, RIOT's characters rail against poor conditions in the jail, and, similar with the latter movie, the expected prison riot occurs. There are also shades of BRUTE FORCE present in RIOT such as the standoff between prisoners and jail workers. In many of the above films, prison officials were painted as either being black or white, without shades of gray in between. In RIOT the prison hierarchy was not presented as totally evil as such, there were some caring individuals in the prison who were sympathetic to the prisoners, which gives the film another dimension instead of falling into the trap of goodies versus baddies. Where RIOT also diverts from other movies, though, is in its violent content. While not exploitative, the violence is difficult to watch at times, but is realistic in tone and nature. The clashes between both prisoners, and prison officers is handled in an eye-opening manner, but not with a view to glamorise violence. This was allowable with the breakdown of film censorship at this time in film history, with this film deservedly rated 'R' for its content. The film was also interesting for other points which are outlined below.

RIOT was noteworthy as it did not feature a romance angle in the film to soften its often tough context. There were no women present in RIOT's jail setting, as in the later FORTUNE AND MEN'S EYES, which would have detracted from the action in the movie, with its concentration on the prisoners and their escape plan. RIOT does show something which is both surprising but also, makes sense for the movie. In RIOT there was a privileged view into Cully's life before imprisonment, particularly his love life. This provided the main character with an understandable reason for wanting to escape, but also, gives added nuance to Cully's psychological makeup for the viewer. Apart from this point, RIOT was also notable for another reason.

Homosexuality was on view in RIOT, to the extent that there was several gay characters, and a striptease sequence performed by a male character in drag. It was interesting as there were several characters present during this segment who appeared to be heterosexual, with a play on this issue which has been explored much more in later films such as FORTUNE AND MEN'S EYES. This particular film took matters much further with an openly gay character in a lead role, not in a supporting capacity as in RIOT. It is also interesting that FORTUNE AND MEN'S EYES also features a male in drag masquerading as a woman, in its case, for the prison show, but has glimpses of full male nudity that RIOT did not present. While FORTUNE AND MEN'S EYES had homosexuality as a driving force in the narrative, including openly suggestive situations, dialogue, and male rape within  its diegetic world, in RIOT it was more of a sideline rather than the main issue. The prisoners' escape was always the burning issue, and what consumed both the characters, and the film itself. One of the best films made in a prison milieu, RIOT is a movie that compels with its measured presentation, and attention to detail in all aspects.

Overview: Buzz Kulik was a director with a deep number of television series and telemovies to his credit, with nine motion pictures bearing his name. His first movie, THE EXPLOSIVE GENERATION (1961) was a risqué, for the time, story about a high school teacher attempting to teach sex education classes to his pupils. With a cast including a young William Shatner and Beau Bridges, and veterans such as Virginia Field and Phillip Terry, it was an interesting experiment for the first time director. Next came THE YELLOW CANARY (1963). Starring Pat Boone as a rock singer whose child is kidnapped, with the kidnappers playing games with the police officer assigned to the case, it is mainly notable for featuring Mr Boone in a less than sympathetic role. 1967 brought Mr Kulik the suspenseful WARNING SHOT. An illustrious cast including David Janssen as the policeman whose fate lies in the balance without an incriminating weapon, supported by Ed Begley, Lillian Gish, and Eleanor Parker, the film was a move upwards for the director. SERGEANT RYKER (1968) was an espionage and suspense war film set during the Korean War, and a further example of Mr Kulik's comfort with thriller themes. 

Next came VILLA RIDES (1968) a western set in Mexico, with Yul Brynner as Pancho Villa, the Mexican revolutionary figure. A chance to do comedy made itself available in TO FIND A MAN (1972) with some nods to topical issues. A young man tries his best to help his young acquaintance with an abortion, the two making a warm, but sometimes tenuous connection. With Pamela Sue Martin as the torn young woman, and Darren O'Connor as her well-meaning friend, it was a change of pace for the director. It was back to action and excitement in SHAMUS (1973). One of Mr Kulik's best known vehicles, it centred around the eponymous private detective who is assigned on a special case; for the owner, either find the stolen diamonds, or the killer of the burglar. It was a fast-moving, humorous ride that provided Burt Reynolds, and Dyan Cannon, with excellent roles. Mr Kulik's final film, THE HUNTER (1980). was also Steve McQueen's last role, in a action movie about a man being threatened by a criminal he handed over to justice, with his personal life also on view. RIOT was in keeping with Buzz Kulik's action directorial slant, but this time, set in a maximum security jail.

It was a film, as with his others such as THE EXPLOSIVE GENERATION and SERGEANT RYKER, which had the courage of its convictions, not shying away from difficult or controversial subjects. There was no toying with matters in Mr Kulik's films, he always got down to business, which made his films both forthright, and refreshing to watch. RIOT also shared the suspenseful framework that made his films so compelling, most akin to WARNING SHOT in its careful execution. There is a painstaking attention to detail and plot events which add up to a cohesive whole, and a satisfying product for the viewer. What also made RIOT so successful, though, and something which differentiated it from other movies of its type, was its lack of melodrama. While there were many scenes of mayhem and violence in the film, these were borne out of pre-existing events and character actions, and not trumped up just for the sake of spectacle. Additionally, other facets of RIOT made it stand out in comparison to other films with a jail riot theme. 

The interactions between the characters are another highlight, the director and writers making their motivations clear for the audience to interpret, and understand. It is not a case of stereotypes just going through the motions, the characters have a depth to them, with particular mention to the two lead protagonists. While they control the majority of the action, they are also supported by peripheral characters who have a place in the film. Having a black, and white character as best friends, seeing each other as equals, is another striking element to RIOT. The race angle, whereby black versus white, and the difficulties that emerge out of this, has not been utilized in the movie, and all the better. The two characters share a moving, credible partnership that is all the more memorable as the last few scenes unravel. For these reasons, RIOT is one of Buzz Kulik's most interesting films, also one of the best films with a prison setting to come out of Hollywood, and a credit to the director as a whole.

Acting: The performances is one of the reasons why RIOT works so well as a convincing motion picture. Jim Brown is splendid as the thoughtful Cully, a man of action but also, integrity, whose passion carries the film. A man with not only a physical but also, a charismatic presence on screen, Mr Brown brings his Cully to life with his distinctive earthy persona. Gene Hackman is also great as Red Fraker, Cully's associate, with whom they share a friendly, but at times fraught relationship. The combination of Mr Brown and Mr Hackman works exceedingly well in RIOT, their unexpected chemistry giving the film vitality and depth. The final actor of note is Ben Carruthers, as the unhinged, unpredictable Surefoot. An actor for whom RIOT, unfortunately, was one of his last films, here he gives it his all, making viewers wonder what went so wrong for Surefoot, making him so extreme in his actions.

Soundtrack: RIOT's theme music is played at both the beginning, and the end of the film, with some pieces of the tune featured throughout the movie at key intervals. Composed by Christopher Comeda and sung by Bill Medley, it is a haunting song which perfectly encapsulates the film's solemn, pensive mood.

Mise-en-scene: RIOT has much outdoor location shooting at a real prison in Arizona which gives the film punch. Scenes such as the many confrontations between prisoners and prison officials, perched above with guns ready to fire, sequences of inmates working in the searing heat, to name a few examples, could not have been as realistically depicted in a studio. Indoor scenes are also excellent, the action moving from cells to mess hall, offices and tunnels with ease. The colour cinematography by Robert Hauser is subdued in tone, appropriate to a film whose subject is lacking in glamour, giving a calming effect, thereby emphasizing the sharpness of the jail, and the outdoor locations.

Award-worthy performances in my opinion: Jim Brown, Gene Hackman, Ben Carruthers.

Suitability for young viewers: No. Male nudity, adult themes, high-level violence.

Overall Grade: B

Link: IMDB Page

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