![]() They are determined to leave Shangri-La, and put pressure on Robert to abandon his newfound beliefs (as well as Sondra) and accompany them back to civilization.if they can survive the treacherous journey.ĭuring its second half, Lost Horizon gets a bit bogged down in its philosophy, sacrificing action for ideas. Capra was passionate about the novel’s message, and he and screenwriter Robert Riskin spend a lot time explaining and debating the attitudes and outlying forces that fuel and sustain Shangri-La. Yet George and the beautiful Maria (Margo) pooh-pooh the mystic properties that permeate the valley and allow it to flourish as a utopian haven. Sondra, who somehow learned of his humanitarian work and efforts to promote world peace, brings Robert to the attention of the 200-year-old High Lama, who knows death is near and names the diplomat as his successor. Robert is instantly captivated by the valley and its ideals, and becomes involved with Sondra (Jane Wyatt), a young woman who has lived at Shangri-La since she was a girl. The residents adhere to high moral standards and are rewarded with extended mortality and a bountiful, carefree existence. ![]() Warner) preside over the peaceful community that remains untouched by political and social strife. The High Lama (Sam Jaffe) and his loyal servant Chang (H.B. After a crash landing somewhere amid the snowy, frigid, Himalayan peaks, the quintet is rescued by a squadron of Tibetan natives, who lead the weary travelers across gaping chasms and along narrow cliffs into the Valley of the Blue Moon, a lush, fertile, temperate landmass dominated by the imposing white lamasery of Shangri-La. The group assumes the pilot is taking them to Shanghai, but it soon becomes apparent the plane is flying in a different direction. The hopeful, inspirational message still rings true - and resonates quite strongly in this turbulent, troubling day and age - but intellectualism often supersedes emotion, tempering the impact.Īn adventurous air, however, initially permeates the film, as English diplomat Robert Conway (Ronald Colman), his impulsive brother and aide George (John Howard), fastidious paleontologist Alexander Lovett (Edward Everett Horton), free-wheeling businessman Henry Barnard (Thomas Mitchell), and Gloria Stone (Isabel Jewell), a woman of questionable repute, rush to board the last plane leaving the war-torn Chinese city of Baskul in 1935. An aloof quality pervades the film and keeps it at arm’s length. ![]() ![]() It’s literate and deep and meaningful and shrouded in fantasy and mysticism. Lost Horizon aspires to grander ideals, preaching the importance of unity, acceptance, diversity, harmony, and - most importantly - peace. He doesn’t always win, but he at least scores a moral victory that garners vociferous approval from a disheartened and cynical public. Eighty years after its initial release, Lost Horizon remains a monumental achievement - especially for its time period - but it’s far from a perfect film.Ĭapra’s finest movies champion the unassuming, honest-to-a-fault common man who stands up to the big, bad, corrupt establishment and tries to single-handedly bring it down. Capra succeeds on many counts, juxtaposing impressive spectacle sequences with moments of intimacy and deep meaning, but sometimes too much passion clouds a filmmaker’s judgment and leads to self-indulgence. ![]() Yet Lost Horizon consumed Capra like no other property, spawning an unyielding commitment to present James Hilton’s best-selling novel and its uplifting utopian message in a relatable, authentic manner. Smith Goes to Washington), not to mention what many regard as the finest Christmas movie ever made ( It’s a Wonderful Life). In his autobiography, director Frank Capra refers to Lost Horizon as “what I think is my best motion picture.” That’s quite a statement from the man who helmed two Best Picture Oscar winners ( It Happened One Night and You Can’t Take It With You), as well as two of cinema’s greatest social commentary films ( Mr. ![]()
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