Lost Horizon, based on the 1931 novel by James Hilton, cost Columbia 2.5 million dollars, making it the most expensive American film up until 1937. And it was indeed heavily marketed as the mightiest picture of all time, promising adventure, escapism and grandiose visions of utopia. The reputation that Frank Capra obtained thanks to the success of Mr Deeds goes to Town (36) and It happened one night (34) allowed him to get the green light for this extravagant production about a group of men, and one woman, who are kidnapped in Shanghai and taken to the lost city of Shangri-La. There they discover a utopic society deprived of the ills and evils of modern society, a peaceful and fulfilled community that will put to the test each of the character’s resolve, personality and willingness to rediscover traditional values.
In spite of the escapist and moral nature of its theme, Lost Horizon was a commercial failure, and the critics were not too impressed either. In a similar fashion to Things to Come (36), Lost Horizon’s ambitious theme scared many who probably saw communist propaganda in it, and was most likely regarded as too naïve by others. Yet, its message, while clearly self-indulgent at times, is a powerful one that has even more significance today. The increasing power of global markets and the dominance of capitalism at the expense of basic human rights and values was already an important and scary theme to some at the beginning of the 20th century, and even more so after the crash of 1929, and yet, today, in a world where there is plenty of evidence of rising inequalities, the message of Lost Horizon continues to be perceived as naïve…

Just Imagine, strongly influenced by Hugh Ferriss’s book, Metropolis of Tomorrow (1929), takes the archetype vision of the future city as defined by a Manhattan-like skyline, and portrays it in all its beauty and majesty. Ferris was America’s most celebrated architectural conjurer of ideal cities of the future and saw in the skyscraper city the ideal form of utopic betterment.

As with High Treason, the city of Just Imagine is buzzing with activity, lights and motion. Cars are everywhere and walkways and bridges saturate the entire skyline. Celluloid Skyline: New York and the Movies states that ‘where Metropolis seems inspired by lower Manhattan, with its angular streets and closely packed towers, Just Imagine’s city suggests midtown, its layout of buildings and avenues more regular and widely spaced’ . Indeed, while its skyscrapers, some of which seem to grow on top of existing structures and buildings, reach high in the sky, the space and airy feel that exists inside the city reminds us that this film (also inspired by the work of the Italian Futurist Antonio Sant’Elia) is overall quite positive and optimistic in its outlook.

Excerpt from Architectural Representations of the City in Science Fiction Cinema.

Things to Come is a masterpiece of British Cinema. Based on H.G Wells’ story The Shape of Things to Come, it offers a utopian vision of the future filled with ideas and concepts that, in spite of the fact that we now know that some of these propositions were naive, are staggering in their seriousness and realization.

Often to the dismay and irritation of the cast and crew, Wells was involved in all aspects of the production of Things to Come. This is a project that was very close to his heart and he was keen on making sure that the result would be an appropriate visualization of his ideas and values. Previous screen adaptations of his work had left him unimpressed (First Men in the Moon 1919, The Island of Lost Souls 1932 and The Invisible Man 1933, among others), branding them as amateurish works. Yet, he maintained an admiration and respect for the cinematic medium and saw Things to Come as the opportunity of a lifetime (especially that he was nearing 70 at that time).
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Many have declared that had Vigo’s life not been unfortunately cut short at the age of 29, he would have surely gone on to become one of cinema’s undisputed masters. L’Atalante certainly offers several touches of genius and has its fair share of beautiful and poetic shots. Vigo seemed interested in trying out various ideas, mixing genres and using an array of different camera angles. There is enough in this film to warrant the claim that he was indeed destined for greatness. But he hadn’t reached that point yet and L’Atalante can sometimes be a reminder of this fact.

Based on the play by George Bernard Shaw (who also wrote the screenplay), Pygmalion is a well-crafted film with outstanding dialogues and solid acting. Funny, emotional and highly entertaining.