El hijo de las fieras

Although THE JUNGLE BOOK seems to limp along at a slow pace, it catches the eye with its splendid Technicolor photography of lush forests, a brilliantly staged forest fire and the "Lost City" where hidden treasure drives men to greed and destruction. Close-ups of the jungle animals are beautifully shot and all of their scenes are well staged.

As Mowgli, the boy raised by wolves, SABU has the fierce looks of a wolf-child, although he does learn to converse in English awfully soon, thanks to some choppy editing continuity. ROSEMARY DeCAMP is his mother, beaming at him with adoration and accepting the fact at the end that he must return to the forest kingdom where he rules rather than stay with man.

Joseph CALLEIA is terrific as one of the greedy pursuers of gold, marking Sabu's trail so he can find "The Lost City." JOHN QUALEN too is excellent in another supporting role.

Miklos Rozsa's music is not given sufficient strength on the soundtrack, muffled behind all of the dialog and jungle sounds, so it doesn't get its due despite some good orchestrations. It sounds better on recorded excerpts from the film.

A fantasy from my childhood that doesn't register as strongly as it did back then but still manages to hold the interest with its visually arresting sets created by Vincent Korda. TCM is showing a better Technicolor print of the film than was released in the Public Domain version years ago, which was nominated for four Oscars including one for its color cinematography.

When the Second World War began three brilliant Hungarians Jews who had made a name for themselves in London –-the impresario/director Alexander and his two brothers Zoltan, also a director, and Vincent, artist and art director-- escaped to Hollywood and started making movies. After the international success of their superb London Film Productions, among them "The Thief of Bagdad" (1940), "Rembrandt" (1936) and "The Private Life of Henry VIII" (1933), the three began all over again in distant Hollywood. With its Indian themes and actors, few viewers today have recognized that most of this production was shot in 1941-1942 on Hollywood sound stages, primarily the low-budget Hollywood Center Studios on No. Las Palmas, not far from the more luxurious Paramount Studios. Producer Korda with his brother Zoltan as director were brave enough to mix a native-born Indian actor, Sabu ("Elephant Boy") with two Hollywood star character actors, Spanish-born Joseph Calleia ("Touch of Evil") and Sicilian-born Franco Puglia, both heavily made up. Eternally loyal as the Kordas were to their native countrymen, they never forgot to hire their fellow expatriates: the astonishing music is by Budapest-born Milklos Rozsa ("Spellbound") and orchestrated by Eugene Zador; the second-unit work, the animal sequences and those probably shot on location in India, were directed by Andre de Toth, born in Mako in old Austria-Hungary. American born Bill Hornbeck who edited the Korda's "Scarlet Pimpernel" in London did the cutting and Lee Garmes ("Night of the Hunter') and the Technicolor pioneer, W. Howard Greene, did the cinematography. The excellent sound effects are not credited.

This is a rather amazing production for 1942. The lavish sets, costumes and full-color are quite amazing for the time--especially considering it was made during one of the darkest years of WWII. So, instead of the typical black & white propaganda film, here we have pure escapism.

Now if you are looking for the Disney version of the Kipling story, you'll no doubt be disappointed. Aside from names and a few plot elements, the story really bears little in common with the 1967 film. Unlike the cartoon, this film does address how Mowgli becomes stranded in the jungle as an infant plus about 80% of the film consists of Mowgli's life AFTER returning to the village where he was born. And, also unlike the Disney film, humans are pretty greedy and awful in this film. In fact, instead of the tiger, Shere Khan, trying to kill Mowgli, the plot mostly has to do with a jungle treasure and the terrible lengths greed drives men to have it. By the end of the film, Mowgli is sick of the humans and their wicked ways--and leaves to live in his beloved jungle once again--quite the opposite of the Disney story.

Aside from very nice production values, there is a lot to admire about the film. The story is rather timeless and has some depth to it due to its examination of human nature. The only serious negative is the same negative you'd have with all adventure films of this era--no one in the film is actually Indian other than Sabu! Remember, this was the time of Charlie Chan (played originally by a Swede) and actors such as Errol Flynn and Katherine Hepburn playing Asians!! Here, such reliable Hollywood actors as John Qualen and Joseph Calleia play Indians! It's all rather laughable, though perhaps it was tough finding Indian actors at the time (especially with India in the thick of things in the war). Still, it's all very forgivable considering that it's otherwise a quality production from start to finish.

Here we have a glorious Technicolour adaptation of the Rudyard Kipling stories, nowadays forgotten after being eclipsed by Disney's cartoon film of 1967. Its status is ill-deserved, however, as this turns out to be a thrilling and eventful movie along the same action-packed lines as THE THIEF OF BAGDAD.

It's hardly surprising, given that the two films share both Zoltan Korda as director and Sabu as star. THE JUNGLE BOOK serves as a loose adaptation of a handful of the original Mowgli stories, featuring all the animal characters that Kipling made famous and integrating them into a storyline that's very much of its era.

Once the Tarzan-like jungle adventures are dispensed with, the plot involves a trio of greedy hunters and their quest for a mythical city of gold. Along the way, there are plenty of animal encounters which utilise some cutting edge technology for their day; those giant snakes still look impressive even now, and I'd for sure take them over lazy, modern-day CGI.

Overall the film has a pleasant and whimsical tone, and the bookend scenes involving an old beggar narrating the tale are very well handled. Sabu is in his element, and doesn't put a foot wrong, and there's enough drama to satisfy both child and adult viewers.

When the Blitz began taking its toll on London, producer Alexander Korda picked up stakes and headed for Hollywood, with his two brothers, Zoltan and Vincent, in tow. There, they finished "Thief of Bagdad" (1940) and produced "That Hamilton Woman" (1941) before beginning this elaborate Technicolor version of Kipling's Mowgli stories, originally titled "The Jungle Books," (published in 1894 and 1895). The film focuses on three of the volume's stories - "Mowgli's Brothers," "Tiger, Tiger" and "The King's Ankus." It's a fairly interesting screen translation of Kipling's attempt to provide young readers with the stories he was told by his Indian ayah when he was a child growing up in the Far East.

When a big-spending movie producer like Korda acquires the rights to a classic, there are inevitable changes. Someone hit upon the cute idea of giving Mowgli (played by Sabu) a "love interest." She appears here in the person of Mahala (Patricia O'Rourke), but after she passively lends impetus to an ill-fated search for lost treasure, her character becomes inconsequential to the rest of the picture.

The film begins as Mowgli's mother, Messua (Rosemary de Camp) is widowed one morning when her husband becomes breakfast for a hungry tiger. We later learn that the tiger is the vicious Shere Khan, who during Mowgli's childhood has become his arch-enemy. Unfortunately, when Mowgli and Shere Khan square off for a climactic battle to the end, the dated special-effects are a disappointment. Perhaps Kipling's original version of Khan's death (in the book, he is trampled lifeless by Mowgli's animal/allies) would have better suited the film.

Three of the village's leading citizens have been thrown together as a sort of Hindu vaudeville act: Buldeo, the blowhard hunter (the good, underrated Joseph Calleia); the greedy barber (John Qualen); and the "pundit" (Frank Puglia). Their lust for a dead king's treasure is given appropriate levity. The predatory Buldeo, Shere Khan's human counterpart, represents the single most dangerous threat to the jungle and the sense of community held sacred by the animals who live there. Ideologically, therefore, the fire that purges the jungle of all human sins seems an appropriate climax.

In the end, we see Buldeo, now aged and wiser, confessing his past sins to all who will pay a rupee to listen to his story of Mowgli and the jungle. As we see, he ultimately earns his money and reputation honestly as not only a story-teller, but as the narrator of this charming spectacle.