The Blue Lagoon (1949 film)

1949 British coming-of-age romance and adventure film directed by Frank Launder

For other uses, see Blue Lagoon.

The Blue Lagoon

Lobby card

Directed by| Frank Launder
Written by| Novel:
Henry De Vere Stacpoole
Screenplay:
John Baines
Michael Hogan
Frank Launder
Produced by| Sidney Gilliat
Frank Launder
Starring|

* Jean Simmons
* Donald Houston
* Noel Purcell
* James Hayter
* Cyril Cusack

Cinematography| Geoffrey Unsworth
Edited by| Thelma Connell
Music by| Clifton Parker
Distributed by| General Film Distributors

Release date

| 1 March 1949 (1949-03-01)

Running time

| 101 minutes
Country| United Kingdom
Language| English
Budget| £311,100[1]
Box office| £351,400 (by 24 December 1949)[2][1]

The Blue Lagoon is a 1949 British coming-of-age romance and adventure film directed and co-produced by Frank Launder (with Sidney Gilliat) and starring Jean Simmons and Donald Houston. The screenplay was adapted by John Baines, Michael Hogan, and Frank Launder from the 1908 novel The Blue Lagoon by Henry De Vere Stacpoole. The original music score was composed by Clifton Parker and the cinematography was by Geoffrey Unsworth.

The film tells the story of two young children shipwrecked on a tropical island paradise in the South Pacific. Emotional feelings and physical changes arise as they grow to maturity and fall in love. The film has major thematic similarities to the Biblical account of Adam and Eve.

## Plot[edit]

In 1841, 8-year-old Emmeline Foster and 10-year-old Michael Reynolds, two British children, are the survivors of a shipwreck in the South Pacific. After days afloat, they are marooned on a lush tropical island in the company of kindly old sailor Paddy Button. Eventually, Paddy dies in a drunken binge, leaving Emmeline and Michael alone. They survive solely on their resourcefulness and the bounty of their remote paradise.

Eight years later, in 1849, the now-adult couple live together in the island paradise, fish, and collect "beads" from the shellfish in the surrounding lagoon. One day, a ship arrives carrying Doctor Murdoch and James Carter, two British men, who are intimated to have fled as criminals from civilization. Surprised to find the couple on the island, Doctor Murdoch soon realises that Michael collects valuable pearls without knowing their true worth. While Murdoch attempts to trick Michael into getting him a bounty of pearls, Carter tries to kidnap Emmeline and escape. Murdoch and Carter kill each other on the boat, and Michael and Emmeline vow to never attempt to leave the island again. They marry, and during a tropical storm, a child, Paddy, is born.

In 1852, Emmeline is reminded of the outside world and wants to leave the island. She fears for their child if Michael and she should die. Michael gives in to her pleading, and they pack a small boat and leave the island. Becalmed in mid-ocean, they succumb to exposure. A British ship finds them, but the movie only shows that Paddy is still alive in the small boat, leaving their fate unclear.

## Cast[edit]

* Jean Simmons as Emmeline Foster
* Donald Houston as Michael Reynolds
* Susan Stranks as Emmeline (younger)
* Peter Rudolph Jones as Michael (younger)
* Noel Purcell as Paddy Button
* James Hayter as Dr. Murdock
* Cyril Cusack as James Carter
* Nora Nicholson as Mrs. Stannard
* Maurice Denham as Ship's Captain
* Philip Stainton as Mr. Ansty
* Patrick Barr as Second Mate
* Lyn Evans as Trotter
* Russell Waters as Craggs
* John Boxer as Nick Corbett
* Bill Raymond as Marsden

## Production history[edit]

The film was an adaptation of a novel whose previous screen adaptation was completed for release in 1923, but it is the earliest surviving adaptation.

In 1928, Herbert Wilcox acquired the motion picture rights to the novel from I.W. Schlesinger to produce a remake. To eliminate competition with his film, Wilcox purchased all existing prints of the 1923 adaptation that weren't in circulation. Approximately one year later, he officially announced the inclusion of this project in his portfolio of motion pictures in production.[3][4] He planned to film it in multiple-language versions in French and Spanish,[5] in 2-strip Technicolor, and with a full libretto of native music.[6] The project was abandoned due to the Great Depression, and was not restarted until 1935, now with backing from the newly formed General Film Distributors (GFD). After development resumed, Wilcox planned to cast either Joel McCrea or Richard Cromwell as the male lead. It was going to be shot in 3-strip Technicolor in Honolulu.[7][8][9]

After a spectacular fire at the British and Dominions Imperial Studios on 9 February 1936 destroyed the last surviving print of the 1923 film, Wilcox lost interest in the project and the rights were assumed by GFD's new sister company Gainsborough Pictures at the recommendation of Frank Launder, who always admired the novel.[10] Gainsborough announced the film in 1938 as part of a slate of 10 films.[11] The stars were to be Michael Redgrave and Margaret Lockwood, who had just appeared in Gainsborough's The Lady Vanishes; Will Fyffe was to co-star.[12][13] Carol Reed was considered to direct.[14][15] In 1939, Gainsborough went into a co-production with 20th Century Fox to secure funding, and Lockwood was going to co-star with Richard Greene, under contract to Fox.[16] Plans to make the film were postponed due to World War II.[17][18]

The project was reactivated after the war and announced in 1946, with Frank Launder attached to direct.[19] Extensive location searches were undertaken before deciding to make the film in Fiji.[20]

Plans to make the film were postponed due to Britain's currency difficulties, but eventually, plans were reactivated.[21]

### Censorship[edit]

In 1946, Joseph Breen told Universal Studios that they could turn the book into a movie if they made some changes to follow the Hays Code. Breen said the characters could not be related, the love should be between grown-ups, and there could not be any sex scenes or birth scenes. He also asked them to take out the parents' suicide. In 1948, Breen approved the script with further changes, like no nudity or suggestive content, and suggested they show the marriage passing incontinently. Indeed, though there were rules and restrictions, they still made and released the movie.[22]

### Casting[edit]

Jean Simmons was attached to the project at an early stage due to her success in Great Expectations (1946).[23][18]

Donald Houston was chosen as the male protagonist from a pool of more than 5,000 candidates, including Laurence Harvey and Roger Moore,[18] 100 of whom had screen tests.[24]

### Filming[edit]

Before embarking on their journey to the island, Launder, Noel Purcell, and Jean convened with Prince Thakombow of Fiji, who was studying in London at the time. They treated the prince to a tour of Pinewood, followed by a relaxed discussion regarding the film's production intricacies, including the imminent expedition to the islands, which the prince enthusiastically supported. Prior to departure, Jean had the privilege of visiting Henry de Vere Stacpoole, the author of The Blue Lagoon, who resided on the Isle of Wight. During this visit, the 84-year-old gifted Jean a green coral charm he had acquired from Fiji four decades earlier while gathering material for his renowned novel.[18]

The film was shot on location in Fiji, Yasawa Islands,[25] and at Pinewood Studios, Iver Heath, Buckinghamshire, England.[citation needed]

On November 27, 1947, Jean Simmons embarked on a journey from Poole aboard a BOAC seaplane bound for Sydney, Australia. Arranged by the Rank Organisation in coordination with her voyage to Fiji, a comprehensive tour of Australia was on her itinerary. The extensive flight included layovers in Cairo, Calcutta, and Singapore. Her departure garnered significant press coverage, with film footage capturing the moment featured in various newsreels. The farewell at the airport was emotionally charged, particularly for Winifred, Jean's mother, who accompanied her daughter. This marked not only Jean's maiden flight but also her inaugural trip abroad, evoking tears as mother and daughter bid each other farewell. After three days, Jean encountered a delay in her flight bound for Sydney when the immigration service in Darwin detained her and twelve other passengers for three hours. Their vaccination documents against cholera were deemed insufficient, causing concern as they had arrived from Cairo, where the virus was rampant, prompting scrutiny from the Australian Department of Health. Fortunately, the situation was resolved the following day.[18]

Jean's journey encountered complications when the Brisbane airport closure due to inclement weather halted the resumption of her travels.[26][27][28] After a prolonged wait, the plane, which had paused for refueling, eventually landed in Sydney on December 2 amidst the enthusiastic welcome of 50 fans.[29][30][31][32] Her first act upon arrival, as recounted in local media, was to send a food parcel to her mother. On December 5, she graced the gala premiere of Launder’s latest film, Captain Boycott, featuring Stewart Granger, who later married Simmons.[33] Jean's explorations across Australia, spanning from Sydney to Adelaide to Melbourne and back, were meticulously documented in national newspapers. Engagements such as press interviews, radio appearances, visits to various institutions including hospitals, schools, botanical gardens, and zoos, as well as attendance at film premieres, ballet performances, formal dinners, and other public events, filled her schedule[34] until December 21, when she finally departed for the Fiji Islands.[18] There was uncertainty regarding her entry into Fiji due to her age of 18. The colonial government of Fiji was discussing the possibility of prohibiting individuals under 19 from entering the country as a preventative measure against the introduction of polio.[35] On December 22, a light plane carrying Leslie Gilliat, the producer and brother of Sidney Gilliat, crashed into a river near Suva. Both Gilliat and the pilot escaped unharmed.[36] On New Year's Eve, Houston and Simmons were almost injured in Fiji when their car was overturned.[37]

The crew initially filmed scenes around Suva's capital, lodging at the Grand Pacific Hotel on the southeastern shore of Viti Levu. Filming on coral reefs in rough seas resulted in injuries for almost every member. After a stop in Lautoka, they traveled to the Yasawa Islands via motorboats from Australia. Jean and her dresser Irene Williams had a cabin to themselves but later shared it with four other crew members. Despite the challenges, the director praised Jean's cooperative attitude in a lengthy article about their experience. During the production, challenges arose in the form of mosquitos, sand flies, snakes, and sharks, which posed threats to the crew's well-being. While Jean managed to escape unscathed, Donald Houston found himself hospitalized after sustaining a severe injury while swimming through a rock-bound water chute. Similarly, Launder suffered a broken wrist towards the end of shooting, requiring him to wear a sling. These incidents underscored the hazards encountered during the filming process.[18]

Due to bad weather conditions, the filming process was prolonged for three months.[38] By mid-March 1948, the production unit achieved 90% of its objective in Fiji, accomplishing 222 camera set-ups, equivalent to around 37 minutes of screen time, or roughly one-third of the completed film.[39] Following three months spent on location, Jean prepared to return to London where filming was set to resume at Pinewood Studios in April. Demonstrating astute planning, Rank arranged her journey back, incorporating stops in Hollywood, where she attended the 20th Academy Awards, and New York. This strategic decision was made with the intention of promoting Jean, who remained relatively unknown in the United States, through local publicity efforts.[18]

The remaining film production took place at Pinewood, with an interruption in late July 1948. The official opening of the Olympic Games at Wembley necessitated the urgent use of all of Rank's Technicolor cameras.[40] The final sequences were completed after the Olympic Games, with filming concluding by the end of August.[citation needed]

## Reception[edit]

### Commercial[edit]

The Blue Lagoon was the seventh-most popular film at the British box office in 1949.[41][42] According to Kinematograph Weekly, the 'biggest winner' at the box office in 1949 Britain was The Third Man with "runners up" being Johnny Belinda, The Secret Life of Walter Mitty, The Paleface, Scott of the Antarctic, The Blue Lagoon, Maytime in Mayfair, Easter Parade, Red River, and You Can't Sleep Here.[43]

The film generated producer's receipts amounting to £186,500 within the United Kingdom and £164,900 in overseas markets,[1] ultimately yielding a profit of £40,300 by 24 December 1949[44] primarily driven by its international earnings.

### Critical[edit]

Writing for the Spectator, Virginia Graham praised the film by deftly navigating the potential pitfalls of a South Seas romance, anticipating a clichéd spectacle of tropical excess but finding instead a charming narrative. She commended the film for its restraint from sentimentality, noting the poignant early scenes with child actors Susan Stranks and Peter Jones. She criticized Donald Houston's acting, albeit acknowledging his aesthetic fit for the role while praising Jean Simmons for her performance. Graham also highlighted the film's visual appeal, particularly the scenery. Despite the film's potential for tropical clichés, Graham found it pleasantly devoid of such excesses, making it rather charming.[45]

Writing for the New Statesman, William Whitebait offers a disparaging perspective, likening the arrival of popular novels and plays to the screen to the unanticipated appearance of a heavily advertised product on a store shelf. He states, "Best-sellers from the circulating library and the stage have an awful way of looming up on the screen like some toothpaste or pickle which, threatening for years from advertisements, at last, confronts us as the only brand on the counter." Whitebait describes the film as a "sad, absurd little idyll" of two castaways, a boy, and a girl, on an island, criticizing the lack of character growth, the film's reliance on the idyllic setting, and the charm of its leads, Donald Houston and Jean Simmons. He notes, "They do a good deal of hopping about beaches instead; and since Mr. Donald Houston and Miss Jean Simmons make a charming pair, and the beach is real Pacific in Technicolor, this is a dream of a film for the snowy evenings." Whitebait concludes his review with a critique of Houston's performance, suggesting that the actor may have taken liberties with his character's dialogue. He writes, "I don’t know, by the way, that Mr. Houston had been playing quite fair, because when the revelation comes he quotes very pat to the moment [John] Donne’s 'I wonder, by my troth, what thou and I Did till we loved?'"[46]

According to A. H. Weiler, a reviewer from the New York Times, the film depicted a tranquil Polynesian utopia accurately but was lacking in excitement. Nonetheless, he acknowledged that the leisurely-paced events were juxtaposed against a picturesque backdrop of Technicolor sunsets, gorgeous beaches, and verdant vegetation. Additionally, he commended the competent performances of the limited cast. Nevertheless, Weiler believed that the movie's most noteworthy feature was its magnificent Technicolor scenery.[47]

In his review for Variety, Myro expressed that the Technicolor cinematography of a stunning South Pacific setting was an appropriate and romantic setting for the movie. However, he found fault with the weak plot and stated that the tale of two children marooned on a South Sea island lacked a cohesive storyline. Although he praised the movie's visual beauty, he criticised the leading actors for not being challenged beyond their physical appearances.[48]

A Harrison's Reports critic gave a mixed review. The reviewer praised the film's aesthetic qualities and its visually appealing elements. However, the critic had reservations over the plausibility of the narrative and the predominantly sluggish tempo of the picture.[49]

The Monthly Film Bulletin offered a nuanced perspective, noting initial interest and action in the narrative before a decline in momentum. While praising Noel Purcell's excellent portrayal of the sailor and the standout performance of Cyril Cusack as a trader, it found the lead actors, Jean Simmons and Donald Houston, competent but not outstanding. The review acknowledged the film's visual appeal, citing beautiful Fijian locations and impressive cinematography, but criticized its length and perceived lack of depth.[50]

Mandel Herbstman, a critic for the Motion Picture Daily, however, gave a positive review of the movie. He liked how the film used Technicolor to show both beautiful and violent scenes of nature. Herbstman thought that the movie would appeal to a wide range of viewers and could fit into different types of adventure and romance stories. He also mentioned that the film's tension and violent moments added to its dramatic impact. Herbstman praised Jean Simmons' portrayal of the lead female character for her physical grace and innocence. Lastly, he thought that Donald Houston did a good job as the male lead.[51]

Jay Carmody of the Washington Star called it a summertime love cinema must-see. Carmody praised Jean Simmons' film star performance. The film's sensitive and tasteful depiction of two youngsters stranded on a beautiful South Pacific island was praised. Carmody liked the film's unexpected emotional and event depth. He also appreciated the well-used comedy, which enhanced the story. Simmons and Donald Houston's portrayals of Emmeline and Michael, the film's adult characters, were Carmody's highlights. Carmody called The Blue Lagoon a great film, praising Simmons' charming and innocent performance and the supporting cast's work. [52]

The Newsweek reviewer offered a critical perspective. While praising the genuine portrayal of the children's arrival on the island and the film's visual appeal, its loss of credibility and slow character development were criticised. The reviewer also pointed out the contrived nature of the romantic plot and its reliance on coincidences. Despite these flaws, the reviewer acknowledged the film's effectiveness as a form of tropical escapism.[53]

Time criticised the picture for its weaknesses and wasted opportunity. The reviewer found the film's South Sea romance tedious and emotionally sluggish, like a Norse saga. The review praised the film's Technicolour cinematography and delightful props but criticised the absence of character dialogue. Contrived catastrophes like an underwater struggle with an octopus and a delayed sex exploration were unsatisfying attempts to make up for this shortfall. The reviewer also criticised the plot, notably the representation of a child's birth, which they considered unsuitable for Jean Simmons. [54]

Melbourne's The Advocate slammed the picture. The reviewer called the film's storyline juvenile magazine-like and boring. The film's technicolour visuals and stunning surroundings were praised, but the reviewer said the weak storyline hampered the cast. The film was a failure despite enormous publicity and efforts, including flying the crew and casting thousands of miles to Fiji for a genuine backdrop. The reviewer called the result a little mouse, meaning that the considerable resources were not proportionate. The review criticised the film's execution and indirectly blamed J. Arthur Rank.[55]

The Sydney Sunday Herald appreciated the film's visual depiction of adolescent reading material and romantic entertainment value, noticing its lack of novelty but noting its commercial success. The critic praised the Technicolour cinematography and sensitively depicted sensual awakening between the heroes. The two villains' temporary disturbance and the couple's baby-rearing difficulty are discussed. The performers performed well, and the reviewer said the film's choice fit Stacpoole's romantic literary style.[56]

Writing for The Age, Erle Cox criticised the interference of film producers in adapting literary works for the screen, sympathising with the original author and expressing frustration over the alterations made by the producer, particularly in the final chapters of the story. Despite this, he acknowledged the film's justifiable use of the source material, praising the performances of the lead actors and highlighting the film's beautiful tropical setting. Notable scenes, such as an underwater fight and a fortuitous hurricane during filming, are also mentioned.[57]

Philip K. Scheuer of the Los Angeles Times praised the film for having recaptured the magic of the camera medium in portraying a romantic idyll set in the tropics. He lauded the growth of characters played by Jean Simmons and Donald Houston from shipwrecked children to parents on a South Sea isle for 10 years. Scheuer highlighted the exploration of various experiences on the island, including birth, death, greed, lust, and survival, with the characters ultimately being sighted by a ship, and drew favourable comparisons to the type of story Powell and Pressburger would appreciate and credited the talented British collaborators for treating the narrative lovingly. Specific dramatic incidents, character evaluations, and behind-the-scenes information were succinctly addressed, maintaining an overall positive tone towards the film's romantic and adventurous qualities, lead performances, and filmmaking execution.[58]

Richard L. Coe of The Washington Post portrayed the film as a consequence of an unexpected encounter with a how-to-behave manner book, deeming it a pleasant watch, despite its narrative shortcomings. Coe observed the film's struggle to define its narrative focus, appreciating the characters' survival skills and instinct for proper attire, highlighting a thwarted attempt to lure the characters into civilization and emphasising the significance of a book of etiquette in guiding the girl's behaviour. Despite an uncertain objective and leisurely pace, the film was commended for its cool escape quality, an attractive central duo, and visually appealing Technicolor cinematography.[59]

The China Mail's review praised the film for its captivating portrayal of two characters stranded on a Pacific island, commending the expert colour photography, vibrant visuals, and sincere performances while acknowledging minor pacing issues and deeming it likely to appeal to a broad audience appreciating its engaging narrative and unusual climax.[60]

The Hong Kong Telegraph lauded the movie as a genuine escape, with the picturesque setting of Jean Simmons and Donald Houston as castaways, featuring real footage of a hurricane in Fiji, and delivering refreshing entertainment through their enjoyable performances, particularly Noel Purcell's effective portrayal of the sailor landing with them on the island as children.[61]

In his review for The New Republic, Robert Hatch characterized the film as a "monument to unbecoming innocence," depicting the challenges faced by two English children stranded on a tropical island as they navigated the complexities of adulthood, with additional elements like an octopus, pearl hunters, and a treetop apartment left unspecified in terms of their impact on the overall film.[62]

In his review for The St. Louis Post-Dispatch, Myles Standish offered a mixed assessment. While praising the stunning Technicolor visuals capturing the scenic beauty of the South Seas, the critic expressed disappointment in the narrative, stating that the plot lacked substance and failed to create a compelling drama that matched the allure of the setting. The attempt to contrast the simplicity of island life with the chaos of civilization was criticized for being unconvincing and lacking in power, particularly in the portrayal of English renegades whose storyline was deemed skimpy. Despite commending Jean Simmons for her "loveliness" and "strong inner fire," the reviewer highlighted the film's failure to give her a meaningful role and bemoaned the absence of poetic use of the camera to enhance the storytelling. In essence, the film fell short of fully leveraging its visual and casting strengths, resulting in a narrative that did not live up to the potential of its picturesque setting.[63][64]

Roberts Dunstan of the Melbourne Herald provided a critical review of the film, noting significant deviations from the source material. Dunstan expressed confusion about the film's aspirations, criticizing the tepid and unconvincing portrayal of the central love story between two shipwrecked characters. Terms such as "underplayed" and "lukewarm" were used to emphasize the perceived lack of passion and intensity in the romantic elements. The review highlighted the panoramic photography depicting the South Sea setting as the sole positive aspect. Overall, it presented a scathing assessment of a film that failed to capture the essence of the novel and fell short of delivering a compelling cinematic experience, with its visual aesthetics standing as the only redeeming quality.[65]

F. Keith Manzie of The Argus conveyed an overall positive assessment, lauding the lead performances of Jean Simmons and Donald Houston. He described Simmons as "youthful, easy-mannered, and altogether charming," highlighting her as J. Arthur Rank's most promising screen player. The film was commended for its visual appeal, with particular praise for the exciting quality of the early scenes featuring the shipwreck and the marooned children, likened to The Swiss Family Robinson. Manzie noted that The Blue Lagoon stood out among island-themed films of the time, positioning it as the only one deemed acceptable, especially when compared to others featuring Dorothy Lamour and Jon Hall. The lead characters, Emmeline and Michael, were positively appraised, with Simmons being hailed as the most attractive island girl in the film. The supporting cast, including Susan Stranks, Peter Jones, and Noel Purcell, were also recognized for their performances. Despite a noted shift in tone as the characters grew up, the review concluded that The Blue Lagoon provided an agreeable experience as a piece of escapism, successfully offering a visually pleasing and immersive break from reality.[66]

The July 1949 issue of Movieland magazine presented a positive review of the movie, capturing the film's enchanting and visually captivating essence. The reviewer, in a whimsical tone, celebrated the movie's ability to fulfil the universal fantasy of a tropical island shipwreck and the allure of a Robinson Crusoe-like existence, especially with a romantic interest in the opposite sex. Applauding the use of Technicolor and the superb scenery that heightened the cinematic experience, the review highlighted the exquisite portrayal of the character's growth by Jean Simmons and the fitting depiction of the hero by Donald Houston, who was appropriately described as "browned and muscular." Despite acknowledging a lack of narrative coherence, the reviewer maintained an optimistic stance, asserting that the film's overall fascination, beauty, and romantic charm would contribute to audience enjoyment, making The Blue Lagoon a compelling cinematic venture.[67]

Helen Hendricks of Screenland appreciated the film's adventurous plot and the convincing transformation of the protagonists from children to adults, played by Donald Houston and Jean Simmons. However, she subtly criticised their desire to leave their paradise, indicating a conflict between nature's allure and societal constructs.[68]

Paul Jones of The Atlanta Constitution positively reviewed the film, lauding the unique storyline and the vibrant use of Technicolor, and expressed confidence in the cast's capability to deliver compelling performances, particularly highlighting Jean Simmons' previous memorable role in Hamlet.[69]

In his Film Review, F. Maurice Speed expressed disappointment, deeming it the least interesting work Sidney Gilliat and Frank Launder had produced up to that point. The film failed to captivate Speed, who conveyed a sense of dissatisfaction with the outcome of Gilliat and Launder's ambitious cinematic endeavour.[70]

Pierre Robin of La Cinématographie Française critiqued the film as being long and static yet punctuated with well-executed dramatic scenes. The staging was adequate without being overly impressive, but the colour palette and selected locations were praised for their aesthetic appeal. The performances of Susan Stranks and Peter Jones were recognized for their naturalness and grace, typical of Anglo-Saxon child prodigies. Jean Simmons' performance was particularly appreciated, especially in her understated attire, while her co-star, Donald Houston, was noted as a likeable lead. Lastly, Noel Purcell's portrayal of a grumpy sailor was deemed perfect.[71]

M.J. McMahon of the Australian Women’s Weekly had appreciated the film's aesthetic appeal, noting the 'naive charm' and 'lovely' scenery, a result of the location work in Fiji, and the characters' development, from shipwrecked children to mature adults. The plot had been described as 'light and fragile', suggesting it was not the film's main strength. McMahon had also highlighted the performances of Jean Simmons and Donald Houston, the romantic leads, with a slight critique of Houston's performance as 'stilted at times'.[72]

Sydney Tomholt from the Australian Broadcasting Commission criticised the film's non-traditional narrative about two shipwrecked children, citing a weak script devoid of realism and incident. The initial part was praised for character portrayal but introducing island traders shifted the narrative to melodrama, lessening engagement. The ending, differing from the book, was noted. Despite an exciting octopus fight and stunning tropical scenes, the film's dull portrayal of castaways' life, acted by Jean Simmons and Donald Houston, was criticised.[73]

Despite the narrative potential that its source material offered, George Perry wrote in his book The Great British Picture Show that the movie ultimately fell short of expectations and provided a rather underwhelming cinematic experience.[74]

Steven H. Scheuer gave it a two-star rating, suggesting a lukewarm reception, and noted the picturesque scenery but asserted that it failed to compensate for the film's narrative weaknesses. Described as a "moderate adventure drama," his review provides minimal commentary on the cast and director, emphasizing the film's shortcomings in storytelling despite its visual appeal.[75]

Shane Burridge retrospectively reviewed the film in 2007 and detailedly compared it to the 1980 remake, focusing on plot development, characterization, and thematic representation. Burridge observed that both versions pursued Stacpoole’s castaway plot but differed in their portrayal of the protagonists’ maturation. He critiqued the 1949 version for overlooking the survival facet of the young castaways and fast-forwarding to their adulthood. The Eden-like setting and the introduction of a corrupting trader were found intriguing, but he questioned the late emergence of sexuality between the characters as unrealistic for that era. He recognized the censorship of the 1940s but contrasted it with the explicit sexuality of the 1980 remake. Despite these critiques, Burridge admired the 1949 version’s innocence and the actors’ performances while pointing out the unsettling elements that hinted at a potentially tragic ending. He ultimately proposed that the audience's connection with the characters might differ based on their preference for the original or the remake.[76]

## Legacy[edit]

David Cronenberg has stated to David Breskin that it was the scariest movie that he ever saw as a kid, and he holds it in high regard. Cronenberg explained that the apprehension represented in this particular film stemmed from the disconnection between the two teenage protagonists and their parents. According to Cronenberg, the concept of parental separation constituted the most fear-inducing factor, as he hypothesised that neonates are universally fearful of such separation. In addition, the individual remarked that adults frequently interpret children's fear of movies based on their perspective, ignoring the fact that children can endure far more frightening circumstances than adults may believe.[77]

## Other versions and sequel[edit]

* The novel was adapted into a motion picture by a Hollywood studio (Columbia Pictures) for the first time in a version that was released in 1980 starring Brooke Shields and Christopher Atkins. The updated version, directed by Randal Kleiser and written by Douglas Day Stewart, included nudity and sexual content, although not as much as the book. According to Kleiser himself, it was the book and not the 1949 film that inspired his version of the story. That version was followed in 1991 by the sequel Return to the Blue Lagoon, starring Milla Jovovich and Brian Krause. Although the sequel bears a strong similarity to the 1980 film, it bears little resemblance to Stacpoole's second novel, The Garden of God. The pearl-greedy traders do not appear in Stacpoole's original novel, but in the third novel, The Gates of Morning, a pair of sailors attack the people of a nearby island for pearls after seeing a woman wearing a double pearl hair ornament, as Emmeline does in the 1949 film.[78]
* A "contemporary remake" of The Blue Lagoon was made for television in 2012. Called Blue Lagoon: The Awakening, it depicts two teenagers Emmaline Robinson (Indiana Evans) and Dean McCullen (Brenton Thwaites) being stranded on a tropical island. The male lead from the 1980 film, Christopher Atkins, appears in this film as one of the teachers on the shipborne field trip where Emma and Dean are lost at sea and end up on an island.

## See also[edit]

* State of nature

## References[edit]

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14. ^ Wapshott, Nicholas (1990). The man between: a biography of Carol Reed. London: Chatto & Windus. ISBN 0-7011-3353-8. OCLC 24955116.
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18. ^ a b c d e f g h Capua, Michelangelo (2022). "Road to Stardom". Jean Simmons: her life and career. Jefferson, North Carolina: McFarland & Company, Inc., Publishers. ISBN 978-1-4766-8224-2.
19. ^ "Films". The Sun. No. 11621\. Sydney. 24 April 1947. p. 6 (LATE FINAL EXTRA). Retrieved 10 October 2017 - via National Library of Australia.
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21. ^ "FILM NEWS AND GOSSIP". Truth. No. 3010\. Sydney. 28 September 1947. p. 58. Retrieved 10 October 2017 - via National Library of Australia.
22. ^ Slide, Anthony (1998). 'Banned in the USA': British films in the United States and their censorship, 1933-1960. London: I.B. Tauris. pp. 38–39. ISBN 1860642543. Retrieved 15 April 2023.
23. ^ "…and from London". The Mail. Vol. 35, no. 1806\. Adelaide. 4 January 1947. p. 9 (Sunday Magazine). Retrieved 10 October 2017 - via National Library of Australia.
24. ^ "FILM FLASH CABLE". The Sunday Times. Perth. 21 December 1947. p. 12 Supplement: The Sunday Times MAGAZINE. Retrieved 7 July 2012 - via National Library of Australia.
25. ^ "Jean Simmons Goes Native", cover story, Illustrated magazine 15, January 1949
26. ^ "Weather Delays British Film Star in Brisbane". The Sydney Morning Herald. No. 34305\. 3 December 1947. p. 3. Retrieved 10 October 2017 - via National Library of Australia.
27. ^ "Planes Delayed By Heavy Rain At Mascot". Newcastle Morning Herald and Miners' Advocate. No. 22205\. Newcastle, New South Wales, Australia. 3 December 1947. p. 3. Retrieved 7 April 2024 - via National Library of Australia.
28. ^ "Rainstorm Floods Suburbs". The Daily Telegraph. Vol. 12, no. 217\. Sydney, New South Wales, Australia. 3 December 1947. p. 5. Retrieved 7 April 2024 - via National Library of Australia.
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33. ^ "Women's News Film Stars At Gala Premiere". The Sydney Morning Herald. No. 34308\. Sydney, New South Wales, Australia. 6 December 1947. p. 8. Retrieved 7 April 2024 - via National Library of Australia.
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35. ^ "Paralysis Precautions May Stop Work on Film". The Chronicle. Vol. 90, no. 5114\. Adelaide, South Australia, Australia. 24 December 1947. p. 5. Retrieved 10 October 2017 - via National Library of Australia.
36. ^ "Film Plane Crashes at Suva". Kalgoorlie Miner. Vol. 53, no. 13171\. Western Australia. 23 December 1947. p. 5. Retrieved 10 October 2017 - via National Library of Australia.
37. ^ "British Star of "Blue Lagoon" In Car Capsize". The Age. No. 28918\. Victoria, Australia. 1 January 1948. p. 1. Retrieved 10 October 2017 - via National Library of Australia.
38. ^ "DELAY IN FILMING OF "BLUE LAGOON"". Tweed Daily. Vol. XXXV, no. 41\. New South Wales, Australia. 17 February 1948. p. 6. Retrieved 10 October 2017 - via National Library of Australia.
39. ^ "Film unit in Fiji". The West Australian. Vol. 64, no. 19241\. Australian Associated Press. 16 March 1948. p. 2.
40. ^ "Color Film of Big Sports". The Mail. Vol. 37, no. 1887\. Adelaide. 31 July 1948. p. 6. Retrieved 25 November 2023.
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## External links[edit]

* The Blue Lagoon (1949) at IMDb
* The Blue Lagoon at Rotten Tomatoes
* The Blue Lagoon (1949) at the TCM Movie Database
* The Blue Lagoon (1949) at AllMovie

* v
* t
* e

The Blue Lagoon by Henry De Vere Stacpoole

Novels|

* The Blue Lagoon (1908)
* The Garden of God (1923)
* The Gates of Morning (1925)

Films|

* The Blue Lagoon (1923)
* The Blue Lagoon (1949)
* The Blue Lagoon (1980)
* Pengantin Pantai Biru (1983)
* Return to the Blue Lagoon (1991)
* Blue Lagoon: The Awakening (2012)

* v
* t
* e

Films of Frank Launder and Sidney Gilliat

Gilliat only|

| Writer only|

* Red Pearls (1930)
* You'd Be Surprised! (1930)
* Lord Richard in the Pantry (1930)
* Bed and Breakfast (1930)
* Third Time Lucky (1931)
* The Ringer (1931)
* The Ghost Train (1931)
* The Happy Ending (1931)
* A Gentleman of Paris (1931)
* Rome Express (1932)
* Falling for You (1933)
* Orders Is Orders (1933)
* Friday the Thirteenth (1933)
* Jack Ahoy (1934)
* Chu Chin Chow (1934)
* My Heart is Calling (1935)
* Bulldog Jack (1935)
* King of the Damned (1936)
* Where There's a Will (1936)
* The Man Who Changed His Mind (1936)
* Strangers on Honeymoon (1936)
* Take My Tip (1937)
* A Yank at Oxford (1938)
* Strange Boarders (1938)
* The Gaunt Stranger (1938)
* Ask a Policeman (1938)
* Jamaica Inn (1939)
* The Girl in the News (1940)
* Mr. Proudfoot Shows a Light (1941)
* Kipps (1941)

|

Director|

* Waterloo Road (1945)

Launder only|

| Writer only|

* Under the Greenwood Tree (1929)
* Children of Chance (1930)
* The W Plan (1930)
* The Middle Watch (1930)
* How He Lied to Her Husband (1931 short)
* Hobson's Choice (1931)
* Keepers of Youth (1931)
* The Woman Between (1931)
* Children of Fortune (1931)
* After Office Hours (1932)
* Josser in the Army (1932)
* Old Spanish Customers (1933)
* You Made Me Love You (1933)
* For the Love of Mike (1932)
* Hawley's of High Street (1933)
* A Southern Maid (1933)
* Those Were the Days (1933)
* Happy (1933)
* Get Off My Foot (1935)
* Rolling Home (1935)
* The Black Mask (1935)
* Emil and the Detectives (1935)
* So You Won't Talk (1935)
* Mr. What's-His-Name? (1935)
* I Give My Heart (1935)
* Educated Evans (1936)
* Where's Sally? (1936)
* Don't Get Me Wrong (1937)
* Oh, Mr Porter! (1937)
* A Girl Must Live (1939)
* Inspector Hornleigh Goes To It (1941)
* We Dive at Dawn (1943)
* Ring of Spies (1964)

|

Director|

* The Last Coupon (1932)
* Two Thousand Women (1944)
* The Wildcats of St Trinian's (1980)

Together|

| Writers only|

* Facing the Music (1933)
* Twelve Good Men (1936)
* Seven Sinners (1936)
* The Lady Vanishes (1938)
* Inspector Hornleigh on Holiday (1939)
* They Came by Night (1940)
* Night Train to Munich (1940)
* The Young Mr. Pitt (1942)
* The Green Man (1956)

|

Directed together|

* Partners in Crime (1942 short)
* Millions Like Us (1943)
* The Great St. Trinian's Train Robbery (1966)

Directed by Gilliat|

* The Rake's Progress (1945)
* Green for Danger (1946)
* London Belongs to Me (1948)
* State Secret (1950)
* The Story of Gilbert and Sullivan (1953)
* The Constant Husband (1955)
* Fortune Is a Woman (1956)
* Left Right and Centre (1959)
* Only Two Can Play (1962)
* Endless Night (1972)

Directed by Launder|

* I See a Dark Stranger (1946)
* Captain Boycott (1947)
* The Blue Lagoon (1949)
* The Happiest Days of Your Life (1950)
* Lady Godiva Rides Again (1951)
* Folly to Be Wise (1952)
* The Belles of St. Trinian's (1954)
* Geordie (1955)
* Blue Murder at St Trinian's (1957)
* The Bridal Path (1959)
* The Pure Hell of St Trinian's (1960)
* Joey Boy (1965)

Producers only|

* The Smallest Show on Earth (1957)
* Ooh… You Are Awful (1972)

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*[t]: Discuss this template
*[e]: Edit this template