LOST HORIZON '73

The 1973 musical version of LOST HORIZON Is the most wonderful endearing and campy musical films of ALL TIME. The 1973 musical remake of the James Hilton novel about mythical SHANGRI-LA! is a real special gem. Music by BURT BACHARACH and lyrics by HAL DAVID. A strange mixture of straight drama, adventure and musical sequences. It has the distinction of being the ONLY anti war musical fantasy ever filmed.

This film was a critical and financial disappointment in the United States, but made alot of money overseas. Only in America did it fail. Highly different and unique in it's approach as a film musical, it deserves far better credit than it's given. As a story, LOST HORIZON is an incredible adventure and both the 1937 Frank Capra fiim and this 1973 musical are faithful adaptations of the James Hilton novel. What I like about the 1973 version is the freedom in which the musical numbers are presented. The film has a prestigious cast and a gifted director and cinematographer. This is a BURT BACHARACH Shangri-La and it's a wonderful place. Songs like THE WORLD IS A CIRCLE, SHARE THE JOY and LIVING TOGETHER, GROWING TOGETHER evoke a happiness that Hilton wrote about in his novel. Why shouldn't Shangri-La be a slightly goofy place? The two love songs, I MIGHT FRIGHTEN HER AWAY and the deleted I COME TO YOU are the sensitive spots in the picture. There's a peacefulness and soft spoken quality in both these songs that is very much keeping with the philosophy of the story. Moreover, THE THINGS I WILL NOT MISS is a good duet with a strong melody. It's a nice exchange of different types of perspective and who can fault with Olivia Hussey and Sally Kellerman stomping, singing and dancing on tables? They're a wonderful team and the number is well staged.

I always found it interesting in this story how the High Lama kidnaps someone from the outside world to take his place in Shangri-La. The character of the High Lama is a gentle soul but somewhat of a radical in his view of mankind as a whole. He has no hope for the world outside of Shangri-La. If this film were to be remade today, it would be interesting to see more emphasis put on the leading character, RICHARD ONWAY'S conflict with what he left behind in the outside world as opposed to what he's found in Shangri-La. Flash backs of his life and his relationships before coming to Shangri-La would be an interesting and thought provoking comparison. This would, I imagine. pose a great deal of questions. The deleted song in the '73 version, IF I COULD GO BACK hinted at this, but was not realized due to Peter Finch's awkward interpretation of the song. As beautiful as this song and Liv Ullmanns follow up song were, it was wise on Columbia's part to cut them out of the picture. The songs, as filmed, slowed the story down, especially after the elongated High Lama scene.

Of course, for the film to be believable, the character of RICHARD CONWAY must be presented as suffering amnesia at the end, like he was in the book. Neither film versions of LOST HORIZON were faithful to the novel in this regard. Did Conway find Shangri-La or was it imagined? Did they all die in the plane crash? Every man has his own idea of what his Shangri-La would be. The conflict with Conway wanting to believe in Shangri-La and returning to his old life in the outside world is powerful. I like the melancholy on the faces of Kellerman, Kennedy and Van as they watch their friends leave the mystical valley. Interesting how Conway doesn't want to leave paradise, but is being pressured out by his brother. Both versions of LOST HORIZON work in different ways, but both are successful in probing James Hiltons ideas of a hidden valley where money has no value and moderation is the rule.

LOST HORIZON has a much stronger story than most musicals. It attempts to answer basic questions of life and one can hardly fault it for not succeeding. One has to remember that LOST HORIZON in 1973 was post CABARET. It was no longer fashionable for characters to break out in song in a musical, much less to be dubbed by other singers. LOST HORIZON was an easy target for jaded critics. The expectations for it were high, almost unreasonable. There were two targets to be hit, the producer, ROSS HUNTER and BACHARACH/DAVID and the critics were out to get both of them. Ross Hunter had enjoyed decades of financial success as a producer and LOST HORIZON was his follow up film to his 1970 blockbuster AIRPORT That film was Universals biggest moneymaker up to that time and the success of that picture triggered a decade of disaster films. For years AIRPORT was the most watched film ever to be shown on television. It was nominated for 11 Academy Awards including Best Picture. At the time, Burt Bacharach and Hal David were the most successful songwriters in the country. The unabashed sentimentality of LOST HORIZON hardly had a chance in the wake of the breakdown of censorship in films like EASY RIDER, MIDNIGHT COWBOY and THE GODFATHER. Sex and violence was a new frontier in the late 60's and early 70's Audiences were flocking to films with content that they were not use to seeing on the screen. Lavish musicals were no longer well received no matter how well they were made. Today LOST HORIZON can be enjoyed and appreciated on several levels. It's the ultimate escapist film with a strong story, wonderful music, an expensive budget and some quirky humor. It's unconventional in the sense that the music is not introduced until 45 minutes into the film. It changes course mid way when the mystical valley is introduced and why not? LOST HORIZON '73 is a heavenly film that deserves rediscovering. A lost and legendary treasure deserving far better than it's reputation.