LOST HORIZON
US, 1937, 118 minutes, Black and white.
Ronald Colman , Jane Wyatt, Sam Jaffe, Edward Everett Horton, John Howard, Margo, H.B. Warner.
Directed by Frank Capra.
Lost Horizon is an adaptation of a novel by James Hilton. Hilton was popular in the 30s with such stories as Knight Without Armour, Random Harvest and Goodbye Mr. Chips, all of which were filmed successfully. Lost Horizon was directed by Frank Capra who was in his heyday as a director. He won Oscars for It Happened One Night and You Can't Take It With You and had the successful Mr. Deeds Goes To Town and Mr. Smith Goes To Washington.
With his screen writer Robert Riskin, he captured the blend of light comedy and social comment needed for the 30s. Lost Horizon is the famous fantasy of people fleeing a war-stricken world and being taken to a fantasy land of peace called Shangri La. The film was a big-budget spectacle of its day and moved Columbia Studios into the forefront of film-making. Some of its style looks very dated now, but the romantic and optimistic impact of the morality fable still have their point. There was a musical remake in 1973 with a large star cast headed by Peter Finch and Liv Ullmann, but it was fairly heavily done and was not a success.
1. The status of the film as a classic, its appeal in the 30s, optimism, fantasy, counteraction to the Depression experience and the imminence of war? Its impact now? Timeless values?
2. A piece of Americana reflecting filmmaking of the 30s,, the impact of the Depression on the American mentality,, the observation of Hitler's activities in Europe? The status and popularity of James Hilton? Fantasy, comedy, an expression of human yearnings? Human sentiment?
3. Black and white photography, the contribution of the atmosphere of the score? The realism of the opening and the experience of war, the film set in the 30s with the Chinese, guns, planes? The mountain flight and the atmosphere of transition with the pilots? The long trek to Shangri La? The sets for Shangri La - beauty and peace? Studio work, locations? A blending of reality and unreality?
4. Audiences identifying with the initial situation and the characters? War, turmoil, the need for escape? The limited number of planes? Menace? The cross-section of people on the plane? The relief of escape and the mystery of the flight? The taking over of the plane, the landing in the snow? The pilots and their powers? An escape from something, to something, for something?
5. The long trek and the audience puzzle about survival in the snow? Shangri La and its vision after the trek? The overtones of Paradise, the atmosphere of the East? The beauty of nature, the beauty of the buildings? Reflecting the mentality of peace and agelessness in the valley? A wish-fulfilment fantasy?
6. Ronald Coleman's style and presence as Robert Conway? The explanation of his background, reputation, his care for those stranded and leaving, his leadership qualities? His willingness to learn, love, understand? His helping the range of people in the group? The contrast with his brother and his being deceived by him? The importance of the relationship with Chang? Enquiry? The interviews with the High Lama and discussion of vision,. the nature of Shangri La and its ideals? The help to the various people in the group? The encounter with Maria,, being deceived by her, leading the group away?
7. The High Lama and his age, origins, the purpose of Shangri La, his dream? His encounter in the past. his experience? His comments on passion and destructiveness? His anticipating his dying? His need for a successor and his explanation of Conway's qualities? Chang and his commentary and contribution to life in Shangri La?
8. George Conway and his jingoism, scepticism, need for the contemporary world? Troublemaking, criticising? His fascination with Maria.. his being led by her statements and leading his brother to be deceived? Their escape, Maria's change, George's death?
9. The range of people on the plane and their interaction with one another, scientist, shady businessman, prostitute? The transformation of their lives in Shangri La? Decisions to stay or to return to the world?
10. The personality of Sondra, her embodying the peace of Shangri La? The attractive feminine for the intellectual masculine? The influence on Robert Conway?
11. The build-up to the leaving, Maria, the snow and the exposure, the impact of her transformation and death? Robert Conway's illness, rescue, delirium and yearning for Shangri La?
12. The significance of his return and his destiny?
13. The effect of the film as a morality fable? The microcosm of the world? Range of people, attitudes, conflicts, yearnings, capacity for peace and for fulfilment? The religious undertones of such a fable?
