Flight of the Lost Balloon

You can prefer Irwin Allen's FIVE WEEKS IN A BALLOON more or less the same kind of plot but on a bit better scale though. This one which I speak about is a British production with some US director and actors too, and made by a US movie maker; however the result is spoiled by the fact that the feature is only available in pan and f...scan. I guess the genuine LBX material is lost for good, such a shame. Besides this, the result is OK for the whole family, as were EAST OF SUDAN and SIEGE OF THE SAXONS, also from Nathan Juran the director. Full of charm forever lost, that's the main intetest for this movie.

Flight of the Lost Balloon is one of the more interesting failures in the 50s/60s Jules Verne cycle. Rarely seen today, the movie has a game cast, a director with excellent genre credentials, and some outstanding widescreen photography to display. You can tell that the filmmakers wanted desperately to emulate the major epics that had gone before, offering a Verne-inspired plot, lots of stock Verne situations, and a lilting theme song crooned over elaborate animated title work. Unfortunately, you can also tell that they didn't have nearly enough cash on hand to follow through with these grand ambitions. Flight of the Lost Balloon is not only a low-budget film, it's a cheap film--and way too cheap to have attempted anything like the continent-spanning adventure story we see sketched out here. The movie seems to be based, if only in spirit, on Verne's very first novel Cinq Semaines en ballon (Five Weeks in a Balloon). Commissioned by the London Geographical Society, Dr. Joseph Faraday (Marshall Thompson) attempts an aeronautical voyage across Africa to rescue a lost explorer. Along the way, a mysterious, nameless "Hindu" commandeers the expedition for purposes of his own. Despite a lengthy cannibal episode played mostly for laughs, Flight of the Lost Balloon was definitely intended as a straightforward action-adventure movie (quite unlike the "official" version of Five Weeks that would appear a year or so later). The story features several interesting plot twists and includes some effective villainy by James Lanphier, in an oily performance reminiscent of Vincent Price. Sadly, the meager budget ruins everything. The production, apparently, couldn't even afford a real hot-air balloon: every single aerial shot in the picture appears to have been accomplished with the miniature balloon Thompson proudly displays (as a "test model") in the first reel! Actually, I wonder whether the budget wasn't cut drastically during the shooting of the film itself. That's the only way I can account for several of this movie's many curiosities. The music score, for instance, disappears completely about half way through, leaving nothing but a long inexplicable silence. Likewise, a major special effects sequence seems half-finished. In fact, I wouldn't be surprised to learn that the giant condor attack over Lake Tanganyika had originally been intended as a stop-motion set piece ala Ray Harryhausen. Director Nathan Juran had just scored a hit with Harryhausen's 7th Voyage of Sinbad, and the "Projects Unlimited" effects group hired for Lost Balloon included several expert stop-motion animators. As it stands however, the episode is laughably bad, with two or three see-through condors-on-a-stick buzzing the miniature balloon to no apparent effect. The scene must have looked especially ridiculous on theatre screens. Marshall Thompson went on to star in the "Verne-flavored" Around the World Under the Sea later in the decade, and Juran made one of the best pictures in the entire cycle with 1964's First Men in the Moon. But Flight of the Lost Balloon is little more than a curio. Yet who knows what it might have been like with just a bit more finance available?

While I agree with those reviews that found nothing redeeming in The Journey of the Lost Balloon, and am bemused by those that tried to find pieces of cheap quartz in the rough, the film was deeply offensive as it played on the long US history of pervasive, oppressive racism. That the balloon comes down in a jungle and a shoreline where black tribal people live merely sets up the writer and director to show people of color as ludicrous, repugnant, vicious, utterly brainless sub-humans. The clichés are unbearable to watch, including the cliché of the euro-guy outrunning the natives (ha!) and hiding in foliage that the dozen or so indigenous people (otherwise to be assumed as masters of their environment) entirely miss, and then, like dogs, run together after a stick the euro-guy throws to create a diversion. Add to this yet another white guy playing an East Indian named "Hindu" with brown-face on all but the back of his white neck, and we literally have a documentary of racist ideology paraded in minute detail over the course an entire film. Of course we don't want to make such films illegal, but we do want to create a culture where such films are not even imagined.

To the brown shirts who will counter that these were simply conventions of an earlier and more innocent time, we can only say that this tripe is the cultural flag that flies over such conventions as slave trade, slavery, the Klan, segregation, ghettoization, and mass incarceration. Of which, in addition to this film, the brown shirts are very proud.

American-International Pictures usually the venue for Roger Corman at the time made this Victorian monstrosity Flight Of The Lost Balloon about a journey across Africa in a balloon. Shortly afterwards Five Weeks In A Balloon came out and was miles better than this.

For one thing this film could use a restoration if someone wanted to bother. The color is very washed out.

Puerto Rico stands in for Africa for the location shooting as Marshall Thompson and Mala Powers set forth to rescue Douglas Kennedy being held prisoner in a castle on an island in the middle of Lake Victoria. The mysterious Hindu who guides Thompson and Powers there is the owner of said castle and he wants Kennedy to spill the beans in regard to Cleopatra's treasure. Cleo didn't die in Egypt she came to the middle of the African veld to do her thing with the asp.

For a film set in Africa, British Africa at that not one of the cast members even attempted a British accent. An indication of the general boredom they had for this project. The situations and the dialog are patently ridiculous, even for a juvenile audience for which this film was intended.

I recently saw this film on a huge screen. And I was impressed by the imagery and the impressions.

I gave 8 stars, but from experience this Film would normally make 6.4 on ImdB. 4.6 is very underrated and I cannot believe what I see here therefore I give 8.

This is a typical 60s Film where there is a big focus on imagery. The play is average sixty like and if you had your youth in 60ties and 70ties you would know this is the kind of play you will find in many movies of that time.

I saw this movie when I was young but forgot most of it. So I was keen to see it again and I liked it. It does not fit in modern times at all. But it fits in the world of my childhood perfectly.

The underrating here is nothing more that this society lost empathy with what the creators of that time wanted to express. And I feel sad that this society lost these values. But on the other hand you will find hidden treasures you can take home not polished up in musea but in the dirt.

So if you want to relive, revive the 60ties and you are looking for great adventure style movies with nice imagery and happyness and loving feelings you used to have in the 60ties and 70ties, watch this and take it home. If you want to play battle and shoot games on your gaming computer you should do that instead.