Most Helpful Customer Reviews
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18 of 19 people found the following review helpful:
4.0 out of 5 stars
Memorable Star, Brilliant Art Design--And Terrible DVD Transfers, August 4, 2005
Loosely based on the Rudyard Kipling "Mowgli" stories, the 1942 JUNGLE BOOK offered war-weary audiences brilliant Technicolor, elaborate sets, numerous action sequences, exotic animals, lost treasure, and a climatic firestorm--not to mention charismatic Indian-born star Sabu in a persistently and titillating half-naked state. It was easily one of the most popular films of the year, a two-hour respite from some of the darkest days of World War II, and its style was so admired it easily won two Academy Awards for best color cinematography and best art direction.
Seen today, however, JUNGLE BOOK is considerably less enchanting. Much of the film's original appeal arose from audience interest in seeing "jungle beasts" in full color--and while several of the animal sequences (particularly those relating to tiger Shere Khan) are classics of their kind, most modern audiences have seen many such scenes in many later films. Further undercutting the animal-interest is the film's use of several animal "dummies" that seemed realistic in 1942 but which are now very obvious in their artificiality.
What remains, however, are Sabu and the overall design of the film, both of which are quite remarkable. Sabu (1924-1963) was an extremely unlikely star, plucked from complete obscurity in India by the Korda brothers to star in the 1937 ELEPHANT BOY. Fluent in English, unexpectedly charismatic, and with a handsome face and impressive body that the Kordas displayed to great effect, Sabu's greatest success would come with the 1940 Korda brothers' production of THE THIEF OF BAGDAD, and he would remain a popular actor in exotic roles throughout World War II. Although not his best film, JUNGLE BOOK captures Sabu at the very height of his appeal--and that is saying a great deal indeed.
The design of the film is equally notable and provides a perfect backdrop to Sabu's charms. Filmed largely on soundstages where producer Alexander Korda, director Zoltan Korda, and art director Vincent Korda could exercise absolute control over every aspect of the film, JUNGLE BOOK is a study in the art of the Technicolor process and easily ranks among the finest color films of that decade. The sets, particularly the complex jungle and "lost city" scenes, are both remarkably fine and beautifully photographed, and the firestorm that climaxes the film retains considerable power.
Unfortunately, however, there doesn't really seem a single DVD edition of the film that presents the film in its full 1942 glory. JUNGLE BOOK is among a number of famous films that has fallen into public domain--and the result is a host of incredibly dire releases to the home market. I have seen, either in full or in part, at least a half-dozen DVD releases of the film, and in each instance the colors are extremely muddy and the picture very fuzzy, often to a point at which the movie is virtually unwatchable. And sadly, given the obscurity of the film in the wake of the popular Walt Disney animated feature, we are very unlikely to see anything better.
GFT, Amazon Reviewer
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12 of 12 people found the following review helpful:
4.0 out of 5 stars
great movie!, January 31, 2001
If you want something different from the Disney animated version, which I love by the way, this is a great, real version of the Rudyard Kipling classic. There is something so mysterious and magical about this film. You really feel you are in a Jungle fairy tale when it begins. You really feel lost in the jungle. I will never forget the first time I saw this film as a child. Watch it at night, and in the dark, to give you the proper theater atmosphere. It will transport you to the jungle that way. It is such a great version of the story. The DVD isn't miraculous, it's pretty close to the poor videos they make of this film, but at least time won't hurt it like it does with VHS.
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23 of 27 people found the following review helpful:
5.0 out of 5 stars
pure poetry, October 2, 1999
Seldom has live film so captured the mood of the original book on which it was based. The framing device of the old story teller (who turns out to be the villain of his own story) and the overvoice narration is Kipling all the way. While the cartoon versions degrade the material and put in riduculous songs, in this film the visual is poetry itself and the Rosza score is magnificent. This and its companion film <The Thief of Bagdad> are examples of movie making at its finest. And if the animals have more screen presence than do some of the actors, so be it.
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