The Lost World.

Review #1614: The Lost World.

Cast: 

Bessie Love (Paula White), Lewis Stone (Sir John Roxton), Lloyd Hughes (Edward Malone), Wallace Beery (Professor Challenger), Arthur Hoyt (Professor Summerlee), Alma Bennett (Gladys Hungerford), Virginia Brown Faire (Marquette the half-caste girl), Bull Montana (Apeman/Gomez), Francis Finch-Smiles (Austin), Jules Cowles (Zambo), Margaret McWade (Mrs. Challenger), and George Bunny (Colin McArdle) Directed by Harry O. Hoyt.

Review: 

"I have wrought my simple plan

If I give one hour of joy

To the boy who's half a man

Or the man who's half a boy."

What better time is there to cover a creature feature than a pioneering one? Oh sure, there is much to highlight with films such as King Kong (1933) or Mighty Joe Young (1949), but each film has one striking similarity: They all had effects work done by Willis H. O'Brien. The Oakland native worked in a variety of fields in his youth, which ranged from cattle ranches to cowboy before finding an interest in dinosaurs. He eventually honed a talent for architecture into sculpting, and a model-making session with dinosaurs and brief footage led to his first chance with a short feature. The result was The Dinosaur and the Missing Link: A Prehistoric Tragedy (1915), which garnered notice from Thomas Edison (inventor and businessman with his pioneering film company). O'Brien would make more work with dinosaurs, with a key highlight being The Ghost of Slumber Mountain (1918) that he directed and starred in (alongside producer Herbert M. Dawley), which showed live actors and stop-motion creatures together (the short was sadly cut from the original print of 40 minutes to 12, and only seven further minutes have been recovered). There are quite a few firsts with this film: It was the first full-length film with stop-motion animation (with regard to the creatures), and it was the first film to be shown in an airplane during flight. It is the fact that one can access the film at all that is just (thankful, since it has existed in numerous cut versions over 95 years, with various versions that ranged from 60 to 90 minutes (because of one attempt to destroy the copies of the film to make the effects more exclusive when King Kong came around) - in any case, one can now see the film (it was intended (originally it lasted 106 minutes, but now it runs at 110) because of recent restorations (which combined portions of 11 film elements to make the most complete version), and it happens to lurk in the public domain. The film was written by Marion Fairfax (listed as screenplay and editorial direction), that was an adaptation of the 1912 novel of the same name written by Arthur Conan Doyle (writer of the Sherlock Holmes series of adventures, which equally were inspired by a real person). One can't forget about the director in all this. Hoyt (listed as providing "dramatic direction" in the credits) was a screenwriter and director over the course of three decades from the silent era to 1945 (doing a variety of films until 1933 alongside shorts) while being a graduate of Yale University in literature. O'Brien (listed as research and technical director) would do over a dozen films with effects work in decades of work (despite being hampered at times in raising funds to do what he wanted), and he liked to add a rubber bladder to his models at times to make them seem more alive. His work (helped by three associates for the models while he did animation) was grueling, spending hours at a time just to get a few seconds of footage with his metal skeleton, rubber skinned creatures, and test footage done in 1922 was shown by Doyle to the Society of American Magicians, who he apparently wanted to trick into believing the footage was actually of living dinosaurs (which worked for a time).

There were numerous adaptations of the book in the following decades (including one with minimal input from O'Brien directed by Irwin Allen), although none have matched the power of the original. The film begins with the esteemed author Doyle introducing the story, with a brief poem delivered by intertitle (as noted above), before it moves to the story it sets itself up before dinosaurs come around, which involve Hughes' reporter character yearning to prove himself (and face death) to win the affections of a girl. It just happens to coincide with a professor who claims to have seen living dinosaurs within the back country of the Amazon, but he has to prove it because most of his records were washed away in a canoe accident (which is amusing in of itself from the next intertitle, which say he nearly killed three reporters sent to interview him!) - and so he demands folks to go with him back to the Lost World and satisfy the doubters (particularly with his hatred of reporters...oops). You'd better believe that makes for a fun time. What we have for the main quartet is a field of actors with recognizable talent for the era required and beyond. Love was not a presence to be trifled with, owing to her vast presence in film, radio, and television for nearly 70 years, with this falling into the range of wholesome charm - it works well within the confines of the film, where one doesn't lose sight of her or find other things to focus on besides her soulful expression. Stone was a soon to be known character presence and MGM mainstay, and it is evident to see why: he makes a worthy warm presence to the proceedings, dignified in his hunt for game in contrast to the big spectacle and bombast present elsewhere - a true sportsman, as the film suggests. One would hope to be familiar with Hughes, since he and Berry starred together in The Sea Hawk (1924), one of a string of films with him as a leading man (he would appear in over 90 productions as star/support in 21 years of work). He does fine with a long face destined for a few curious gestures, which is what one needs for a film like this. Beery is obviously quite a force of stature to be reckoned with, and it only makes sense to see him in a key part since he was in the middle of a lengthy career with plenty of film credits that ranged from heavy villain roles to comedy and more - obviously he does well with not getting lost in that bushy beard and bombast spirit, a man up to the challenge. The climax of the film goes to the big presentation: bringing a "living proof" Brontosaurus right to the face of the doubters a year later...only to see the dinosaur roam the streets of London due to an accident. My favorite part is the creature knocking down a statue right before it starts to bob its head around at various things. Clearly, what we have is a movie to stoke fascination in the magic that makes cinema so much fun to look upon. Sure, other movies followed in its wake with furthered advancement in effects like Jurassic Park (1993), but one cannot deny the power that comes from a mysterious world full of imagination and eclectic actors to make it all worthwhile (the subsequent follow up to that book/film, interestingly enough, proved a homage with its title, for which it shares the same name as this film). 95 years have shown the age of its effects and story at times, but it is still a worthwhile time to experience at least once, serving as the important link of creature features made in the backbone of silent films that thankfully is available for all to see any time.

300! Holy cow, Movie Night has reached 300 reviews in one calendar year, which I did not certainly did not see coming at the beginning of this year (I'm sure that statement can be applied several times over). I figured as long as the output (and quality, obviously) was better than 2019 or 2018, one would be satisfied, so I hope one has enjoyed what has proved in my mind to be Movie Night's greatest year in ten years on the Internet, which was exactly ten years ago. While I doubt there will be many years of 300 reviews, I would hope that the next year of Movie Night will prove just as worthy to read upon for you folks. 

Overall, I give it 9 out of 10 stars.