Four Frightened People

Interesting Cecil B. DeMille film about four passengers fleeing a plague-infested ship and having to fight their way through the jungle. William Gargan is a pompous reporter who's the he-man of the group, pointing his gun at everything that moves and barking orders. Mary Boland is a talkative middle-aged socialite who provides most of the movie's humor and is pretty much the highlight. Herbert Marshall is a sarcastic chemist who discovers his masculinity through the ordeal. Claudette Colbert plays a mousy geography teacher with pinned-up hair and glasses. As the film progresses, she lets her hair down, loses the glasses, and wears less clothes. So naturally she becomes increasingly sexy and self-confident! The two men, of course, start to notice her more. Leo Carillo is an English-speaking native guide who is terrible at his job and gets the group lost!

As I said, it's an interesting film for DeMille, who is known as a director of epics. This is a smaller, more character-driven story. It's a nice little film, if a slight one. Corny at times but enjoyable enough. The cast is good and the direction solid. Colbert is lovely and makes the most of a silly part. Try not to take it too seriously and I'm sure you'll enjoy it more.

One of Cecil B. DeMille's lesser and lesser-known efforts, Four Frightened People is a Depression era melodrama that cashes in on the public's misgivings about modern society, a culture of decadence whose values seemed as doubtful as its future. Will a forced return to untamed nature lay bare what refinement and sophistication have only hidden from view? Escaping to a remote island after the plague breaks out on the steamer that was to take them back to the US, four frightened people are about to find out. As the director himself put it in a radio trailer for the film, the titular characters are meant to "reveal just how rapidly the polite mold of civilization disintegrates under the influence of the jungle. These people shed civilization when they shed their clothes. They become like animals of the jungle, fighting and loving like the beasts who terrify them." DeMille, of course, is decidedly of that culture of decadence; and when he strips his characters, he is less interested in teaching than in teasing us.

Don't expect to see starchy Herbert Marshall drop his trousers; the cameraman reportedly had some difficulty concealing the actor's artificial leg. Claudette Colbert, however, once again obliges, as she did before in The Sign of the Cross. Here she plays Miss Jones, a timid schoolteacher who gradually tosses her inhibitions and prim getup to pursue a wilderness romance and frolic in a waterfall. To keep such titillation going, cheeky DeMille employs a chimpanzee to snatch what's left of her dress. Far from being shamed and subdued, Miss Jones learns to enjoy being lost and finding out what school and society seem to have kept from her. "Can't I have feelings as well as you?" she confronts her male companions. "Well, I can! And from now on I'm gonna let them out. If I got to be lost, I'm gonna be lost the way I want to be, and do all the things I've wanted to do before I die." Of course, when exposed to such fire, neither the self-absorbed reporter (William Gargan) nor the disillusioned and unhappily married chemist (Marshall) in her party can resist the flame.

DeMille was an expert at striptease, at unveiling his leading ladies for public display, and at packaging such lowbrow peepshows as high art. Four Frightened People does without the props of antiquity and insists instead on the film's authenticity as a nature study. "All exterior scenes in this picture were actually photographed in the strange jungles on the slopes of the Mauna Loa and Mauna Kea in the South Pacific," the words on the screen are meant to assure us, even though the less than impressive cinematography will fail to convince anyone that DeMille was even half as interested in flora than in flesh.

Filmed and initially released prior to the enforcement of the production code, Four Frightened People generates some steam, however creaky the engine. Welcome sparks of comedy are added by the delightful Mary Boland, who portrays a society lady determined to educate the natives about birth control while encouraging the illicit affair of her cultured companions.

According to Cecil B. DeMille's autobiography, Four Frightened People was the last film he made that both lost money and was not of an historical nature. Seeing it today, especially in the edited 78 minute version of it, I can see why. Not even Paramount splurging for location shooting in Hawaii to stand in for the Malay jungle and DeMille's eye for spectacle could save this one.

Our Four Frightened People are spinster geography teacher Claudette Colbert, newspaper correspondent William Gargan, chemist Herbert Marshall and the wife of a British colonial official Mary Boland. Believe me this is not four people you would want in a foxhole.

The bulk of the cuts to Four Frightened People seem to come at the beginning of the film where in the short version we see the radio operator requesting help because plague is on board the ship. Gargan who is a take charge sort, commanders a lifeboat and takes Marshall, Boland, and an unwilling Colbert on board to land, lest the plague outbreak become known in the steerage where a lot of Chinese coolies are packed in like on a slave ship. The next thing we know is that the four find Leo Carrillo, a mixed blood native to help guide them to safety.

A whole lot of introductory material to the characters is lost here. My guess is that because Four Frightened People came in before the Code, Paramount made drastic cuts to try and salvage the film in a re-release which occurred the following year. As far as the story narrative was concerned it made it incoherent.

Not that I think there was much there to begin. The two men of course end up fighting over Colbert and Mary Boland just goes about in her usual oblivious way to the dangers. As for Claudette she turns from a woman frightened of life, to Sheena Queen of the Jungle as she parades around in a leopard skin outfit that must have been borrowed from Maureen O'Sullivan at MGM. The transformation is not terribly convincing.

Color might have salvaged this somewhat we were two years away from the modern Technicolor process that Paramount did in its first outdoor film in The Trail Of The Lonesome Pine. Curiously enough DeMille for all his mastery of the technical side of film making did not do a color feature until Northwest Mounted Police in 1941. The Hawaiian scenery looks beautiful, far more convincing than some standard jungle set on a studio back lot.

One other story DeMille told was that Claudette Colbert had a strong aversion more than most to little creepy crawly critters and in Hawaii many unusual ones thrive. On the first day of shooting she sat down on a centipede and became hysterical. How she got through the film God only knows. But the very next film Claudette did was It Happened One Night and that was her Oscar winning part. Good recompense for going through Four Frightened People.

I wasn't crazy about this film and neither was its director.

Four Frightened People is an interesting, if badly named, survival thriller from the 1930s. It was somewhat ahead of its times, with a brief nude sequence and a muted feminist theme, with an active heroine by the standards of its time.

The film follows four people who flee a cruise ship that has been infested by the bubonic plague. They land in a jungle portion of Malay and have to travel through the wilderness to get back to civilization. Along the way, they confront wild animals and hostile indigenous people.

This film takes some unexpected turns that make it more interesting. At the beginning, we assume the heroine will end up romantically attached to the brash leader of the group. However, DeMille takes the plot in a much different and more satisfying direction, making good use of character development to defy our expectations.

Four Frightened People also defies expectations through its treatment of Claudette Colbert's heroine. Initially a whiny, easily pushed around schoolmarm, she becomes arguably the most influential member of the group, pushing the men to become more proactive. Although the film's ending and a few damsel in distress scenes undermine the proto-feminist theme, the film is still quite progressive for 1934.

The film's content is also surprisingly risqué. At one point, we see Claudette Colbert's character showering nude, and the supporting female character gets Malay women to deny their husbands sex.

One aspect that does date the film is an undercurrent of racism. The depiction of the indigenous people is definitely patronizing, particularly the character of Montague. Still, the film is far better in those terms than other old jungle films such as White Pongo.

I am relating a great deal of this film's content because I know it is nearly impossible for potential viewers to find. So if you don't want to know specifics of the plot, please stop reading! I was lucky enough to enjoy it through a university preservation film festival.

First, the four main characters are introduced:

Mary Boland - interested in reducing the birth rate of the country; Herbert Marshall - an "unimportant" rubber chemist "too quiet and shy to shake the world's foot from his neck", Claudette Colbert - an insignificant Chicago geography teacher, and William Gargan - an egotistical journalist whose articles "New York" is just waiting for. (Those are some of the film's words, not mine).

In the first few minutes, you see Colbert dressed in a very prim fashion with her hair pulled tightly back and glasses always on. This was reason enough to pay admission! The three other main characters are trying to escape from their plague-infected ship. She has screamed, so they have to abduct her in order to slip away unnoticed.

Soon their little boat dies and they must rely on a native (Leo Carillo calling himself "white") to help them find a path back to civilization. This is where their 'fun' really begins. They must traverse through an ominous jungle. Colbert only notices the pretty orchid she wants to pick and when they bunk for the night, she is incredibly offended that they expect her to sleep with them (including the men). This is when a truly bit of funny dialogue occurs: Marshall says something like, Neither one of us thinks of you as a woman so stop turning everything into a sex problem and join the group! It was very amusing to hear a proper-sounding man blurt this out angrily. She insists on being alone until she hears a lion. Then she races over on all fours and is in between the men while they're attempting to sleep. Her hair is hanging down and the impression is that she is getting prettier. The two men roll over though and ignore her.

Soon they are lost in a maze of unnavigable branches. Colbert tries to reason which way is north. No one wants to listen to her, but they're ready to play with the extra set of cards she handily has in her purse. Under a makeshift roof, they play at night while Gargan barely saves Colbert from a snake. Feeling indebted to him, she dries his wet shoes over a fire but only succeeds in burning out the soles. He is infuriated, and now she is determined to go on alone. After all, her great great grandfather was John Paul Jones.

Now a real native tribe finds the lost wanderers and will not leave them in peace unless one of the women stays with them. They choose Boland because she's heavier than Colbert and they like that. Soon the two men who never liked each other start arguing, especially over the less inhibited Colbert who now attractively wears bathing suits made from leaves and bathes luxuriously under a waterfall. She starts making the decisions much to the men's chagrin. She becomes enamoured of the more sensitive Marshall, who we learn is a hen-pecked husband. Eventually, the group survives the death of their leader and Marhsall's being hit with an arrow. Back in civilization, we see Marshall and Colbert in their separate environments. For those who like to see their characters happily paired though, this film won't disappoint you.

If you like Colbert and Marshall, this film is one to search for. It is also fun to see Boland younger and playing an unmatronly character. This is a more subdued DeMille picture which presents a different aspect of him as a director. The film may be a little silly and unrealistic, but it was not a spectacle. I wish it was available for people to see more readily.