Le Livre de la jungle

Based on Rudyard Kipling's known classic novel , it concerns a little boy named Mowgli (Sabu) . He's living at an Indian village with his warmhearted mum (Rosemary DeCamp) . But he's lost and raised by a wolf pack . Along the way , he encounters a variety of jungle animals , including a complete menagerie , such as : the ferocious black panther named Bagheera , the evil tiger named Shere Khan , the Croc , the bear, elephant , monkeys... Mowgli stays among his animals friends . He takes on a jungle journey and knows the location of a hidden treasure ; then three of the village men (Joseph Calleia, John Qualen, Puglia) follow him and many adventures ensue .

This lavish version of the great classic displays adventures , fantasy , exotic atmosphere , and breathtaking scenarios . This is the first acting to the young Indian boy named Sabu , an American actor , even though he was born in India . In fact he never actually performed in Indian pictures , and was only in British , European, and Hollywood films . He was lined up to star in Indian flicks , and even regarded as an Indian actor , but could not get a valid work permit , because he was a naturalized US Citizen . As he followed a Hollywood 's successful career : ¨The thief of Bagdad¨, ¨Elephant boy¨ and ¨Arabian nights¨ . Rudyard Kipling's two Jungle Book anthologies comprise fifteen stories , four of which were used is this film : "Mowgli's Brothers," "How Fear Came ," "Tiger! Tiger!," and "The King's Ankus¨. Colorful and glimmer cinematography by Howard Greene and Lee Garmes in glamorous Technicolor with shimmering matte shots that make some landscapes look like they were added with magic markers . Exotical and oriental musical score by the great master composer Miklos Rozsa . It was the first film for which original soundtrack recordings were issued . This big budgeted movie is well made by Korda family . Vincent Korda created the impressive sets , Zoltan Korda directed brilliantly this familiar story and magnificent production by Alexander Korda . A must see for children of all ages. Adults will find the picture a little boring , but the younger to be amused.

Other adaptations about the vintage tale are the following ones : the Walt Disney animated classic version ¨Jungle Book¨ by Wolfgang Reithman (1969) and its sequel (2005) , and in the 90s , a beautifully and enchanting filmed version , live-action by Stephen Sommers with Jason Scott Lee, Lena Headley and Sam Neill .

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.

Loosely based on the Rudyard Kipling "Mowgli" stories, the 1942 JUNGLE BOOK offered war-weary audiences brilliant Technicolor, elaborate sets, numerous action sequences, exotic animals, lost treasure, and a climatic firestorm--not to mention charismatic Indian-born star Sabu in a persistently and titillating half-naked state. It was easily one of the most popular films of the year, a two-hour respite from some of the darkest days of World War II, and its style was so admired it easily won two Academy Awards for best color cinematography and best art direction.

Seen today, however, JUNGLE BOOK is considerably less enchanting. Much of the film's original appeal arose from audience interest in seeing "jungle beasts" in full color--and while several of the animal sequences (particularly those relating to tiger Shere Khan) are classics of their kind, most modern audiences have seen many such scenes in many later films. Further undercutting the animal-interest is the film's use of several animal "dummies" that seemed realistic in 1942 but which are now very obvious in their artificiality.

What remains, however, are Sabu and the overall design of the film, both of which are quite remarkable. Sabu (1924-1963) was an extremely unlikely star, plucked from complete obscurity in India by the Korda brothers to star in the 1937 ELEPHANT BOY. Fluent in English, unexpectedly charismatic, and with a handsome face and impressive body that the Kordas displayed to great effect, Sabu's greatest success would come with the 1940 Korda brothers' production of THE THIEF OF BAGDAD, and he would remain a popular actor in exotic roles throughout World War II. Although not his best film, JUNGLE BOOK captures Sabu at the very height of his appeal--and that is saying a great deal indeed.

The design of the film is equally notable and provides a perfect backdrop to Sabu's charms. Filmed largely on soundstages where producer Alexander Korda, director Zoltan Korda, and art director Vincent Korda could exercise absolute control over every aspect of the film, JUNGLE BOOK is a study in the art of the Technicolor process and easily ranks among the finest color films of that decade. The sets, particularly the complex jungle and "lost city" scenes, are both remarkably fine and beautifully photographed, and the firestorm that climaxes the film retains considerable power.

Unfortunately, however, there doesn't really seem a single DVD edition of the film that presents the film in its full 1942 glory. JUNGLE BOOK is among a number of famous films that has fallen into public domain--and the result is a host of incredibly dire releases to the home market. I have seen, either in full or in part, at least a half-dozen DVD releases of the film, and in each instance the colors are extremely muddy and the picture very fuzzy, often to a point at which the movie is virtually unwatchable. And sadly, given the obscurity of the film in the wake of the popular Walt Disney animated feature, we are very unlikely to see anything better.

Gary F. Taylor, aka GFT, Amazon Reviewer

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.

The first time I saw this movie I walked each step with Sabu playing the part of Mowgli, what an adventure it was. The animals of the jungle know and respect him, they willingly do as he wishes because, they know that he is good and one of them. I first saw this in a theater, and don't remember the year, I was very young. I am sorry to say that it has gained some darkness and lost a little of the very nice color, but to anyone who didn't first see it way back when, it should seem very nice. Watch for the one who whispers, so old and yet so special. Well worth the rental/buy price in my opinion. Mowgli of the wolfs wants to get a tooth, and he does. A very nice movie, I have watched it many times, and will watch it many more. Join me.