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Excellent, Without a doubt!!

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Presented by Edward Small. Released through United Artists. Copyright 25 July 1940 by Edward Small Productions, Inc. New York release at Radio City Music Hall: 1 August 1940. U.S. release: 19 July 1940. U.K. release: 23 September 1940. Australian release: 28 October 1940. Sydney release at the Plaza: 25 October 1940. 8,776 feet. 97½ minutes.SYNOPSIS: Bad white mens steal-um natives' pearls.NOTES: Pago-Pago is pronounced "Pango-Pango". There is no hyphen in the film's actual credit titles. Grant Whytock who is billed as assistant to the producer is the veteran film editor whose career stretches from The Four Horsemen of the Apocalypse (1921) to The Christine Jorgensen Story (1970). Presumably he acted as supervising film editor.COMMENT: Although enthusiastically acted and produced on a comparatively expensive budget, South of Pago Pago tends to outstay its welcome. Chief drawback is the conventional script. The plot (with some unintentionally laughable dialogue: "Why don't you stop it? Haven't you killed enough people already?" - "Ha-ha-ha! Now I'm the boss of Manoa!") follows nothing if not a predictable course.What makes the film worth watching are its performances: Frances Farmer tossing off wiseacre lines like a junior Mae West, Victor McLaglen leading and laughing it up villainously, Douglass Dumbrille flashing his eyes with ominous relish and articulating even his most innocent lines chock-full of menace, Abner Biberman - a thief in the clutch of pirates - lapping through his second-string, dirty-dozen act. As usual, the villains are best served, though Jon Hall looks and acts appropriately dumb as the innocent native chieftain.Alas, it all takes too long to reach the foregone action climax in which the villains get their just desserts. Spectacularly staged as it is, some very obvious use of models and miniatures lessens its impact (the camera shooting down on the model canoes from too high an angle is an elementary mistake). Nonetheless, some exciting falls and stuntwork - though another fault which rather dates all the action spots is the over-use of speeded-up motion.Mescall's photography is at its richest and most atmospheric in some of the studio scenes - the opening in the vast, smoky, gin-sling waterfront dive, the ship-board climax - despite many obvious camera set-ups against a process screen. Actually, much of the film was lensed on location - here the photography is pretty ordinary - and producer Small has also footed the expense of using a real, fully-rigged sailing ship.Green's direction has a smidgen more style than usual in his forties' offerings - the compositions are tighter (once or twice even imaginative) and the camera set-ups more varied. Sets and costumes sometimes appeal. The music score (including the title song) has the right South Seas synthetic atmosphere.Of course, for modern audiences South of Pago Pago has an irresistible secondary appeal; the opportunity to see the legendary Frances Farmer in a role which, if not exactly typical, she certainly plays to the hilt.

SOUTH OF PAGO PAGO (United Artists, 1940), an Edward Small Presentation, directed by Alfred E. Green, is a South Seas adventure tale starring Victor McLaglen, Jon Hall and Frances Farmer in the leads. As much as this movie might have started a trend of other South Seas adventures that were common ground during the 1940s, with many produced in lavish Technicolor, this is not the first of this cycle. In 1937 alone, Jon Hall got his first big break in a leading role opposite sarong girl Dorothy Lamour in THE HURRICANE (Samuel Goldwyn) while Frances Farmer was featured in a Technicolor adventure of EBB TIDE (Paramount), based on the novel by Robert Louis Stevenson. Three years later, their paths would meet for this black and white adventure tale with enough island scenery that might have been more effective had it been produced in Technicolor.Opening title: "This is a story of days not so long ago, when Singapore spawned a race of steel-fisted, iron-jawed adventurers, who lived happy, fought hard and died hard - as they ravaged unknown seas, lured by the priceless lusture of virgin pearls." Opening in Shanghai, China, at the Tingle Tangle Café, hostess Ruby Taylor (Frances Farmer) meets with Portuguese sailor, Manuel Forro (Abner Biberman) with news about rich pearl beds that can be found off the shores of Manoa. This news reaches Ruby's friends, Captain Bucko Larson (Victor McLaglen) and his first mate, Williams (Douglass Dumbrille), who invite both Ruby and Manuel aboard their steamer, the L.A. Dessa, bound for the island south of Pago Pago. Before reaching Manoa, Manuel, who's upset about being cheated of his promised share, is thrown overboard to the sharks by Bucko. Greeted by the natives, the crew is met by Kehase (Jon Hall), son of the island chief (Pedro De Cordoba). Although loved by Malia (Olympe Branda) since childhood, Kehase takes an immediate interest in Ruby, a beautiful white woman. Also on the island is Mr. Lindsay (Gene Lockhart), a white man who's been living among the natives for nine years, is not please by the presence by these visitors, which may mean trouble for his happy paradise. His instincts are correct. As the native boys dive for pearls, danger lurks for some, leading to certain deaths or injuries. Kehase insists the pearl diving must stop. Not wanting to leave the island with just twelve pearls to their name, Bucko uses Ruby to lure Kehase away, even to a point of marrying him and honeymooning on the island of Tua Tua. With Kehase temporarily out of the way, Bucko and his mates resume their greedy force amongst the native boys, risking their lives diving for more pearls and turning a once happy community into a fearful one. Also seen in the cast are: Francis Ford (Foster); Ben Weldon (Grimes); and Harry Woods (Black Mike Rafferty).A South Seas tale that plays like a Saturday afternoon matinee is one that has done no harm in Jon Hall's movie career, considering a handful of similar adventures that would follow later on, especially those six over at Universal opposite the exotic Maria Montez. Hall does well as the island leader, but his accented manner of talking fails to come off convincingly. Aside from native drum playing and dancing, shipboard fights pearl diving dangers, the movie also contains off-screen chanting and singing to the title tune of "South of Pago Pago" by Chet Forrest, Bob Wright and Frank Loesser to round out the story. When Frances Farmer makes her first screen entrance in the cafe, her character, clothes and hairstyle strongly resemble that of her Lotta character from her breakthrough film, COME AND GET IT (1936). Once the story shifts towards the island of Manoa, she not only lets her hair down, figuratively, she appears slightly heavier in her physical appearance than before. Olympe Bradna, on loan from Paramount, makes a beautiful island girl. She even participates in a lively island dance with Jon Hall.Not as well known as other films of this type, SOUTH OF PAGO PAGO did become available on VHS through VCI Home Video around 1998, and later onto DVD, assuring its rediscovery. Though cable television broadcasts are uncertain, it was once popular viewing on the late show or afternoon broadcasts during the 1960s and 1970s before taken out or circulation. Overlooking certain outdoor scenes that appear more indoor studio bound, with ordinary scripting, SOUTH OF PAGO PAGO moves swiftly during its 97 minutes of action and adventure. (*** pearls)

South of Pago Pago was an attempt to cash in on the success of The Hurricane, and again stars Jon Hall as a native islander. He does an adequate job in the role and certainly had the body of a Greek god. He was the king of the exotic adventure film genre of the 1940's with Turhan Bey running a distant second. When his film career was over, Jon expressed relief that he no longer had to exercise to keep in shape, and he was as good as his word. We also get a rare look at the beautiful and talented Frances Farmer, whose film career was all too short. However, it is not the "good guys" that dominate this film, but the bad ones, and they are bad. Victor McLaglen in a rare role as a villain, Bucko Larson, is a combative brute with no redeeming qualities, killing without qualm. However his leadership ability, his grim determination to acquire wealth and his fearlessness, along with his few crewmen in the face of the overwhelming numbers arrayed against them, gets my grudging admiration. In fact, despite knowing the outcome, I must admit I root for these corsairs rather than for the good guys. The final moments, where their corpses are tied to their ship before it is set adrift in retribution, is a memorable scene. The song, ""South of Pago Pago" is played (and sung) at opening credits and then only a few bars on occasion throughout the film. A pleasant Hawaiian-type song, I think it should have been used more frequently, as "Moon of Manakura" was in The Hurricane. "Manakura" was a smash hit in the 1940's and is still heard on occasion today.South of Pago Pago was typical of the tropical escapist fare of the early 1940's and yes, we did escape for a time with these films, only to exit the theater onto the street and back into the real world, with all it's problems. Not always the greatest feeling -- that.

I can't express how fortiesishly luscious this is on every level. Any fan of that era who hasn't seen it 'ain't there yet.' Frances Farmer ! How could you describe her? [a curiously unblemished saloon girl in this one, but what the heck?] John Hall ! Victor McLaglen ! These people - who they were in the time in which they lived and worked - bigger & more beautiful than life - a part of that never-never fantasy world - that was so much illusion - once lived and so gone forever - of the forties.