The Blue Lagoon (1949 film)

The Blue Lagoon is a 1949 British coming-of-age romance and adventure film directed and co-produced by Frank Launder (with Sidney Gilliat) and starring Jean Simmons and Donald Houston. The screenplay was adapted by John Baines, Michael Hogan, and Frank Launder from the 1908 novel The Blue Lagoon by Henry De Vere Stacpoole. The original music score was composed by Clifton Parker and the cinematography was by Geoffrey Unsworth.

For other uses, see Blue Lagoon.

The Blue Lagoon
Lobby card
Directed byFrank Launder
Written byNovel:
Henry De Vere Stacpoole
Screenplay:
John Baines
Michael Hogan
Frank Launder
Produced bySidney Gilliat
Frank Launder
Starring
CinematographyGeoffrey Unsworth
Edited byThelma Connell
Music byClifton Parker
Distributed byGeneral Film Distributors
Release date
1 March 1949 (1949-03-01)
Running time
101 minutes
CountryUnited Kingdom
LanguageEnglish
Budget£311,100[1]
Box office£351,400[2][1]

The film tells the story of two young children shipwrecked on a tropical island paradise in the South Pacific. Emotional feelings and physical changes arise as they grow to maturity and fall in love. The film has major thematic similarities to the Biblical account of Adam and Eve.

Plot

In 1841, 8-year-old Emmeline Foster and 10-year-old Michael Reynolds, two British children, are the survivors of a shipwreck in the South Pacific. After days afloat, they are marooned on a lush tropical island in the company of kindly old sailor Paddy Button. Eventually, Paddy dies in a drunken binge, leaving Emmeline and Michael alone. They survive solely on their resourcefulness and the bounty of their remote paradise.

Eight years later, in 1849, the now-adult couple live together in the island paradise, fish, and collect "beads" from the shellfish in the surrounding lagoon. One day, a ship arrives carrying Doctor Murdoch and James Carter, two British men, who are intimated to have fled as criminals from civilization. Surprised to find the couple on the island, Doctor Murdoch soon realises that Michael collects valuable pearls without knowing their true worth. While Murdoch attempts to trick Michael into getting him a bounty of pearls, Carter tries to kidnap Emmeline and escape. Murdoch and Carter kill each other on the boat, and Michael and Emmeline vow to never attempt to leave the island again. They marry, and during a tropical storm, a child, Paddy, is born.

In 1852, Emmeline is reminded of the outside world and wants to leave the island. She fears for their child if Michael and she should die. Michael gives in to her pleading, and they pack a small boat and leave the island. Becalmed in mid-ocean, they succumb to exposure. A British ship finds them, but the movie only shows that Paddy is still alive in the small boat, leaving their fate unclear.

Cast

Production history

The film was an adaptation of a novel whose previous screen adaptation was completed for release in 1923, but it is the earliest surviving adaptation.

In 1928, Herbert Wilcox acquired the motion picture rights to the novel from I.W. Schlesinger to produce a remake. To eliminate competition with his film, Wilcox purchased all existing prints of the 1923 adaptation. Approximately one year later, he officially announced the inclusion of this project in his portfolio of motion pictures in production.[3][4] He planned to film it in multiple-language versions in French and Spanish,[5] in 2-strip Technicolor, and with a full libretto of native music.[6] The project was abandoned due to the Great Depression, and was not restarted until 1935, now with backing from the newly formed General Film Distributors (GFD). After development resumed, Wilcox planned to cast either Joel McCrea or Richard Cromwell as the male lead. It was going to be shot in 3-strip Technicolor in Honolulu.[7] [8] [9]

After a spectacular fire at the British and Dominions Imperial Studios on 9 February 1936 destroyed the last surviving print of the 1923 film, Wilcox lost interest in the project, though, and the rights were assumed by GFD's new sister company Gainsborough Pictures at the recommendation of Frank Launder, who always admired the novel.[10] Gainsborough announced the film in 1938 as part of a slate of 10 films.[11] The stars were to be Michael Redgrave and Margaret Lockwood, who had just appeared in Gainsborough's The Lady Vanishes; Will Fyffe was to co-star.[12][13] Carol Reed was considered to direct.[14][15] In 1939, Gainsborough went into a co-production with 20th Century Fox to secure funding, and Lockwood was going to co-star with Richard Greene, under contract to Fox.[16] Plans to make the film were postponed due to World War II.[17]

The project was reactivated after the war and announced in 1946, with Frank Launder attached to direct.[18] Extensive location searches were undertaken before deciding to make the film in Fiji.[19]

Plans to make the film were postponed due to Britain's currency difficulties, but eventually, plans were reactivated.[20]

Censorship

In 1946, Joseph Breen told Universal Studios that they could turn the book into a movie if they made some changes to follow the Hays Code. Breen said the characters could not be related, the love should be between grown-ups, and there could not be any sex scenes or birth scenes. He also asked them to take out the parents' suicide. In 1948, Breen approved the script with further changes, like no nudity or suggestive content, and suggested they show the marriage passing incontinently. Indeed, though there were rules and restrictions, they still made and released the movie.[21]

Casting

Jean Simmons was attached to the project at an early stage due to her success in Great Expectations (1946).[22]

Donald Houston was chosen as the male protagonist from a pool of more than 5,000 candidates, 100 of whom had screen tests.[23]

Filming

The film was shot on location in Fiji, Yasawa Islands,[24] and at Pinewood Studios, Iver Heath, Buckinghamshire, England.

In December, a light plane carrying Leslie Gilliat, the producer and brother of Sidney Gilliat, crashed into a river near Suva. Both Gilliat and the pilot escaped unharmed.[25]

Simmons left England in November, spent some time in Australia, and then travelled to Fiji.[26][27] There was uncertainty regarding her entry into Fiji due to her age of 18. The colonial government of Fiji was discussing the possibility of prohibiting individuals under 19 from entering the country as a preventative measure against the introduction of polio.[28]

Houston and Simmons were almost injured in Fiji when their car was overturned.[29]

Most of the filming occurred on the Yasawa Islands, and due to bad weather conditions, the filming process was prolonged for three months.[30]

Reception

Commercial

The Blue Lagoon was the seventh-most popular film at the British box office in 1949.[31][32] According to Kinematograph Weekly, the 'biggest winner' at the box office in 1949 Britain was The Third Man with "runners up" being Johnny Belinda, The Secret Life of Walter Mitty, The Paleface, Scott of the Antarctic, The Blue Lagoon, Maytime in Mayfair, Easter Parade, Red River, and You Can't Sleep Here.[33]

The film generated producer's receipts amounting to £186,500 within the United Kingdom and £164,900 in overseas markets,[1] ultimately yielding a profit of £40,300 by 24 December 1949[34] primarily driven by its international earnings.

Critical

According to A. H. Weiler, a reviewer from the New York Times, the film depicted a tranquil Polynesian utopia accurately but was lacking in excitement. Nonetheless, he acknowledged that the leisurely-paced events were juxtaposed against a picturesque backdrop of Technicolor sunsets, gorgeous beaches, and verdant vegetation. Additionally, he commended the competent performances of the limited cast. Nevertheless, Weiler believed that the movie's most noteworthy feature was its magnificent Technicolor scenery.[35]

In his review for Variety, Myro expressed that the Technicolor cinematography of a stunning South Pacific setting was an appropriate and romantic setting for the movie. However, he found fault with the weak plot and stated that the tale of two children marooned on a South Sea island lacked a cohesive storyline. Although he praised the movie's visual beauty, he criticised the leading actors for not being challenged beyond their physical appearances.[36]

A Harrison's Reports critic gave a mixed review. The reviewer praised the film's aesthetic qualities and its visually appealing elements. However, the critic had reservations over the plausibility of the narrative and the predominantly sluggish tempo of the picture.[37]

Mandel Herbstman, a critic for the Motion Picture Daily, however, gave a positive review of the movie. He liked how the film used Technicolor to show both beautiful and violent scenes of nature. Herbstman thought that the movie would appeal to a wide range of viewers and could fit into different types of adventure and romance stories. He also mentioned that the film's tension and violent moments added to its dramatic impact. Herbstman praised Jean Simmons' portrayal of the lead female character for her physical grace and innocence. Lastly, he thought that Donald Houston did a good job as the male lead.[38]

Jay Carmody of the Washington Star praised it as a must-see romantic film that enhances the summer experience. Carmody specifically highlighted Jean Simmons' outstanding performance as the film's star. He commended the film for its tender and tasteful portrayal of a story about two children stranded on a captivating deserted island in the South Pacific. Carmody appreciated the film's unexpected depth, both in terms of its events and emotions. He also noted the skillful incorporation of comedy, which added a layer to the narrative. Carmody particularly praised Simmons and Donald Houston for their performances as the adult characters, Emmeline and Michael, captured the film's most impactful dramatic moments. Overall, Carmody described The Blue Lagoon as an exceptional cinematic experience, showcasing Simmons' talent in her enchanting and innocent portrayal and acknowledging the notable performances of the supporting cast.[39]

The Newsweek reviewer offered a critical perspective. While praising the genuine portrayal of the children's arrival on the island and the film's visual appeal, its loss of credibility and slow character development were criticised. The reviewer also pointed out the contrived nature of the romantic plot and its reliance on coincidences. Despite these flaws, the reviewer acknowledged the film's effectiveness as a form of tropical escapism.[40]

The film received a critical review in Time, which highlighted several shortcomings of the film, underscoring its flaws and missed potential. The reviewer expressed disappointment in the movie's portrayal of a South Sea romance, considering it long-winded and emotionally stagnant, comparable to a Norse saga. While acknowledging the visually appealing aspects of the film, including its Technicolor cinematography and the charmingly crafted props, the review criticised the lack of engaging dialogue between the characters. The script's attempt to compensate for this deficit with contrived crises, such as an underwater fight with an octopus and a delayed exploration of sex, was deemed unsatisfying. Additionally, the reviewer expressed disapproval of the plot's direction, particularly the portrayal of a child's birth, which they felt was inappropriate for Jean Simmons.[41]

The film received a scathing review in the Melbourne newspaper The Advocate. The reviewer criticised the movie for its monotonous and uninteresting storyline, which they deemed to be on par with adolescent magazine standards. While the film's use of technicolour photography and magnificent scenery was acknowledged, the reviewer noted that the cast seemed burdened by the weak material. Despite extensive publicity and efforts, including transporting the crew and casting thousands of miles to Fiji for an authentic backdrop, the film was ultimately considered a disappointment. The reviewer metaphorically described the outcome as a small mouse, implying that the extensive resources invested did not yield a proportional result. The review expressed frustration with the film's execution and indirectly placed blame on J. Arthur Rank.[42]

The review from the Sydney Sunday Herald praised the film's visual depiction of adolescent reading material and its romantic entertainment value, acknowledging the lack of originality but highlighting the commercial success achieved by the filmmakers. The reviewer commended the stunning Technicolor cinematography and subtly portrayed sensuous awakening between the protagonists. The temporary disruption caused by the two villains is mentioned, as well as the dilemma of what the couple should do when their baby arrives. The actors' performances were deemed satisfactory, and the reviewer suggested that the decision made in the film aligns with Stacpoole's sentimental writing style.[43]

Writing for The Age, Erle Cox criticised the interference of film producers in adapting literary works for the screen, sympathising with the original author and expressing frustration over the alterations made by the producer, particularly in the final chapters of the story. Despite this, he acknowledged the film's justifiable use of the source material, praising the performances of the lead actors and highlighting the film's beautiful tropical setting. Notable scenes, such as an underwater fight and a fortuitous hurricane during filming, are also mentioned.[44]

Despite the narrative potential that its source material offered, George Perry wrote in his book The Great British Picture Show that the movie ultimately fell short of expectations and provided a rather underwhelming cinematic experience.[45]

Legacy

David Cronenberg has stated to David Breskin that it was the scariest movie that he ever saw as a kid, and he holds it in high regard. Cronenberg explained that the apprehension represented in this particular film stemmed from the disconnection between the two teenage protagonists and their parents. According to Cronenberg, the concept of parental separation constituted the most fear-inducing factor, as he hypothesised that neonates are universally fearful of such separation. In addition, the individual remarked that adults frequently interpret children's fear of movies based on their perspective, ignoring the fact that children can endure far more frightening circumstances than adults may believe.[46]

Other versions and sequel

See also

References
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  2. Fowler, Roy; Haines, Taffy (15 May 1990). "Interview with Sidney Gilliat" (PDF). British Entertainment History Project. p. 111.
  3. "NEW SOUND FILMS". Daily News. No. 16922. Perth, Western Australia, Australia. 29 July 1929. p. 1. Retrieved 2 May 2023.
  4. "Famous London Stage Stars in B.D.F.'s 26 Talkies". Everyones. 10 (498): 9. 4 September 1929. Retrieved 15 April 2023.
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