This lavish colour production of the Rudyard Kipling stories was made by the Korda family. Producer Alexander Korda might be said to have been the Dino De Laurentiis of the 1940s. Originally a film critic in his native Hungary, Alexander Korda became a director in 1914 and then founded his own film studio. Kordas career as a producer began proper after he moved to England in 1931 and with the formation of his London Films production company in 1933. Korda made a number of lavish epics and was largely instrumental in transforming the British film industry into a major international player that could compete with Hollywood product. Alexander Korda produced such films as The Private Life of Henry VIII (1933), The Scarlet Pimpernel (1935), The Ghost Goes West (1936), Rembrandt (1936), two collaborations with H.G. Wells Things to Come (1936) and The Man Who Could Work Miracles (1937), The Four Feathers (1939) and The Thief of Bagdad (1940), among others. Korda had also made an earlier Kipling jungle story Elephant Boy (1937), which had also starred Sabu.
Jungle Book was a spectacular production for the day. Vast sets were constructed for the film, including an Indian village, a colossal lost city and even an entire jungle built up around a studio lot. The Kordas also appear to have gone on location to India for some the film where they have corralled a supporting cast of genuine Indians (no extras with browned-out faces here). The film is scored with a lush, epic note (for which it won an Academy Award). The animal scenes are beautifully photographed and the jungle is alive in bright, sumptuous Technicolor colours of all description (the photography also won an Academy Award). Much of this would have looked a great deal more impressive and expansive during the era when Jungle Book first came out, whereas today such spectacle has become commonplace. As it is, there are some still exciting scenes with Mowgli wrestling the snake Shere Khan underwater and a fabulous climax with an animal stampede and the burning of the village and the lost city. It is worth comparing Jungle Book to the Johnny Weissmuller Tarzan films that were being made around the same time as this while the sense of adventure in the Tarzan series never extended much beyond stock animal footage and back-projected jungle scenes, Jungle Book is a jungle adventure that comes in full colour and with a genuine flavour of authenticity.
Sabu has a wonderfully primal quality as Mowgli and is near-perfect in the role. (Born Sabu Dastagir, Sabu was a native Indian actor, the first to find success in Hollywood. He was discovered by Alexander Korda with Elephant Boy and played several other roles for him, including the title character in The Thief of Bagdad, although for the rest of his career never moved beyond playing stock Indian parts in various adventure films).
More disappointingly, the animal scenes only consist of animal footage or of rubber snakes suspended on wires. Only the King of the Cobras and Kaa the snake speak in this version and as a result the non-human characters never fully come alive Disney had a much greater advantage with their version where they animated the animals. Nevertheless, Jungle Book is an impressive spectacle.
Rudyard Kiplings Jungle Book tales have proven popular on film. Disney filmed the book twice as the animated The Jungle Book (1967) and then as the live-action The Jungle Book (1994) starring Jason Scott Lee. The latter produced a theatrical sequel The Second Jungle Book: Mowgli & Baloo (1997) and a tv movie spinoff The Jungle Book: Mowglis Story (1998), while the animated film was followed by a belated sequel The Jungle Book 2 (2003). The Jungle Book (2016) is a further live-action remake.
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