Young boy Mowgli, who was raised in the jungle by animals, must decide whether he belongs to the jungle or the human world as well as confront the villainous tiger, who's threatening the wolf pack that adopted him.
A caring she-wolf adopts a lost human baby. He's named Mowgli and raised by Baloo the bear and Bagheera the panther. One day, impish monkeys snatch Mowgli away and take him to their city. Baloo and Bagheera ask Kaa the snake for help.
Pre-teen jungle boy Mowgli gets to human world and is pursued by P.T.Barnum circus scout Harrison who wants to take him to circus as curiosity. Harrison hires local grandee Buldeo for help ... See full summary »
Teenaged Mowgli, who was raised by wolves, appears in a village in India and is adopted by Messua. Mowgli learns human language and some human ways quickly, though keeping jungle ideas. Influential Merchant Buldeo is bigoted against 'beasts' including Mowgli; not so Buldeo's pretty daughter, whom Mowgli takes on a jungle tour where they find a treasure, setting the evil of human greed in motion.Written by
Rod Crawford <email@example.com>
This film was included in the first syndicated television presentation of a package of major studio feature films on USA television; it premiered in Baltimore Saturday 23 October 1948 on WMAR (Channel 20, followed by Boston Sunday 7 November 1948 on WBZ (Channel 4), by Chicago Monday 15 November 1948 on WGN (Channel 9), by Philadelphia Friday 26 November 1948 on WFIL (Channel 6), by New York City, Saturday 25 December 1948 on WPIX (Channel 11), by Atlanta Wednesday 5 January 1949 on WSB (Channel 8), and by Dayton Sunday 13 March 1949 on WHIO (Channel 13). Although filmed in Technicolor, these telecasts were in B&W, since color broadcasting was still in its experimental stage. The package consisted of 24 Alexander Korda productions originally released theatrically between 1933 and 1942, this title being the most recent. See more »
When the thieves are entering the treasure chamber, the first thief sits beside a large granite rock and begins running his hands through the gold coins. As he does so, his knee bumps the rock and it moves, showing that it is clearly just a lightweight prop. See more »
We're going to have a marketplace, and a temple, and a mighty city. Aye, we'll have all that if we can beat the jungle. But have you in your hundred years seen man win a war with nature?
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Memorable Star, Brilliant Art Design--And Incredibly Dire DVDs
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
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