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Terrible acting, screenplay and direction.

i must have seen a different film!!

Bad Acting and worse Bad Screenplay

This is a must-see and one of the best documentaries - and films - of this year.

First of all, I love musicals. When this originally was released back in the 70s, my family was excited. We had the album with all of the wonderful Bacharach/David music and knew all of the songs before seeing the film. Then we saw it. Peter Finch's song, "If I Could Go Back" was cut, I guess for time. And so were two others. This was a pivotal point in the film. Otherwise, it seems like his character decides to leave Shangri-La and go back to civilization in about 2 seconds. Almost a "Umm, bye. See you." feel. Is still like the film and love the score.

I saw this movie in the theater in 1973, as well as a few times since. As I recall, the early 70's were pretty amazing times. People were protesting and getting involved in politics. It was an interesting time to be alive. So then, I have to wonder, why the hate on this film? It's my opinion that once a literary work is published, it's up for interpretation...and that interpretations can be different, but not "right" nor "wrong", because interpretations are subjective. This Ross Hunter 1973 Interpretation of "Lost Horizon" is a musical one. And I ask you, why not? What kind of person insists that there is only one possible interpretation of a literary work? Whenever I encounter critics of this film, I usually find people so dogmatically entrenched in their view that the only possible "right" portrayal of it is the 1937 (Black and White) Capra version. Scrolling through these reviews just confirms this bias. But one must wonder why...whether the reviewers are being true, or simply biased. This film has never portrayed itself as a "better than". It has only portrayed itself as an "Other", i.e: a musical rendition of Hilton's work. Cinematic and other adaptive works, once published, are offered up to the public for interpretation. I have yet to see this film critiqued honestly, as a 1973 stand-alone interpretation of a literary text framed in its own pop culture, rather than a comparison to a 1937 version (also borne of its own pop-culture.) There are too many cooks in this kitchen spoiling the broth! When evaluated in context, this movie stands out! To those of you who love the 1937 version, that's great. I'm happy for you. But please stop bashing this version because it's not 1937 all over again! I love musical theater and honestly, I fell asleep watching the 1937 Capra version of this film. Nevertheless, this whole fracas leaves me with one question: If Capra can be framed within the culture of his time, then why can't Ross Hunter, Burt Bacharach, and Hal David?

In the midst of an explosive revolution are leader-type Peter Finch (as Richard Conway) and his way younger brother Michael York (as George Conway). They escape in an airplane with a small group, headed for Hong Kong. Unfortunately, the plane is hijacked and crashes in a remote area of the Himalayas. Fortunately, the travelers make it to Shangri-La, a paradise where people live in perfect health and age very slowly. It's not exactly Hollywood, but there is an all-star cast. On board are song and dance man Bobby Van (as Harry Lovett), uptight photographer Sally Kellerman (as Sally Hughes) and gold prospector George Kennedy (as Sam Cornelius)...Mr. Finch is attracted to singing schoolteacher Liv Ullmann (as Catherine) while Mr. York prefers pregnant dancer Olivia Hussey (as Maria)...Wise old Dalai lamas John Gielgud and Charles Boyer are befriended by Finch. He moves closer to the secret of Shangri-La. York mostly wears regular clothing. This is symbolic because he wants to leave with Ms. Hussey, though she may revert to her true age. Many people felt older after sitting through "Lost Horizon". To make it a musical for producer Ross Hunter, the popular songwriting duo Burt Bacharach & Hal David contribute some of their least memorable songs. Charles Jarrott directs with catatonic seriousness. Picturesque photography by Robert Surtees is a relative strength. All told, this re-make of "Lost Horizon" is a lost cause.*** Lost Horizon (3/14/73) Charles Jarrott ~ Peter Finch, Michael York, Olivia Hussey, Liv Ullmann

Everything you've heard about this movie is true, except the part about its awfulness being "enjoyable." To paraphrase Ghost World, "it's so bad it's gone past good and back to being bad." The movie begins promisingly enough, after a mundane folk ballad and long credits sequence, with a scene of intense conflict as a diplomatic crew attempts to flee a war torn country. Enjoy this scene while it lasts because it is the only genuine conflict you will see in this film. The pilot crash lands in a place called Shangri La, which despite being totally cut off from the outside world is well-maintained and full of food and all the worst of hippie New Age fashion. All of the characters, except one – Michael York – seem to enjoy living in Shangri La, and no source of menace or tension appears in the plot to dissuade them. Although this is a musical, the first non-integrated number appears about 50 minutes in. And it's a lousy rehash of Joni Mitchell's "The Circle Game." The musical staging appears to be that a character states a thought, and then a song begins that reaffirms the thought in the most glaringly obvious manner ("Am I in Shangri La, or is Shangri La in me?" "Different people have different points of view." You don't say). The staging of the numbers is very similar to The King and I; although it only serves to remind you that you should be watching that instead. As the characters decide either to stay in Shangri La, or to leave for no apparent reason (since the script has no villains or conflict), we are lead to a non conclusion that resolves nothing and says nothing. I suppose this was sold as some kind of Age of Aquarius, anti Vietnam, "Imagine no countries," type of deal, but it just comes off as a lame hippie high school production. I could literally have written better songs and staged better dances, and I have no rhythm or musical talent.