Lost Horizon

Lost Horizon

I think I’m going to like it here.

Every director in Hollywood has that big, epic movie production they’ve always wanted to do, and in many cases eventually get the chance to do, and it seems not even hometown, quintessential Americana director Frank Capra is excluded from this conjecture. Capra evidently wanted Lost Horizon to be his grandest picture yet, and no expense was spared him, even when the production went over-budget and he turned in an initial cut of the film that was six hours long. Apparently, his producers finally said enough and cut the film down themselves, to its release running time of just over two hours, which is the version I watched, though some small sequences of film have been lost to time and replaced by still images to the still-existing audio. Even watching this version, though, I could not surmise to any extent why Capra had such a hard time cutting the film down; even at two hours, it feels like it doesn’t get enough done during the running time to justify its own length.

Ronald Colman stars as Robert Conway, a novelist and important British diplomat who is fighting to get a series of planes into China to export a group of Westerners in the midst of an armed conflict. Succeeding, he boards the last plane out, but unbeknownst to him, the plane is hijacked by an unknown pilot, and the plane ends up crashing in the mountains when it runs out of fuel. Facing certain death, the crash survivors are amazed when a small group of sherpas meet them and take them to their refuge, Shangri-La, a remote and isolated paradise secluded by mountains on all sides. Faced with a thriving, idyllic community the likes of which he’d always dreamed of, Conway and the others must now uncover the mysteries of the utopia that has taken them in, and figure out when, or indeed if, they’re going to be able to leave. For an epic, or at least a purported one, this had a surprisingly smaller, hometown mindset to most of it, though considering it’s Capra that is probably more to be expected than I initially thought. There’s no excessive production value to this one that is so typical of Hollywood epics, and indeed the scope of the story itself is rather confined, hopping from the plane to Shangri-La and then pretty much staying there for most of the rest of the picture. There are a few times, mostly during the beginning and ending sections, where the music swells up to seemingly offer a heightened sense of danger or conflict, but never when this happened did it feel genuine or accurate, instead feeling manufactured by the film to cover up the fact that there wasn’t as much to the plot as there could’ve been. Added to this is the actual ending of the film, which if you don’t mind some mild spoilers, opts to not dramatize what likely should’ve been the third act of the film and instead have a chance character regale what happens to a group of people, instead of actually showing us what happens. It felt particularly lazy of the film to do this, and spoiled a lot of what good will I’d had with the film up to then, but I didn’t take it too harshly, as if all of what this chance character describes had actually made it into the film, the picture likely would’ve indeed run six hours, and been justified in doing so.

There were some things to like about this picture, but there were just as many things to not like about it. The major one for me was that it didn’t feel like a complete picture, instead feeling like the released print is, say, parts one and three of a six part story smushed together, with the description at the end of the film filling in whatever blanks the film has by not actually having the plot in the film itself. This, more than anything, is why I felt, as I said in the opener, that the film hadn’t done enough to justify the length it was; oddly enough, it was because the film had too much material, didn’t film enough of it, and then tried to stretch what it had done out to 3 or 4 hours before the producers finally pulled it away from Capra’s hands and tried to make do with what Capra had done up to that point. It was extremely disjointed, and I absolutely was not expecting that from a Frank Capra film. Maybe he did let this one get away from him a little too much. Still, aside from once again not being taken by the supposed charms of Ronald Colman, there’s enough of Capra in here to make it a somewhat decent watch, though it definitely isn’t one you absolutely have to see, so for that, I’ll be nice and put it right in the middle of my ratings scale. It could’ve been worse, and it could’ve been better, but really, what it actually is is just… incomplete. That’s all.

Arbitrary Rating: 7/10

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