The Blue Lagoon
Lobby card
Directed byFrank Launder
Written byNovel:
Henry De Vere Stacpoole
Screenplay:
John Baines
Michael Hogan
Frank Launder
Produced bySidney Gilliat
Frank Launder
Starring
CinematographyGeoffrey Unsworth
Edited byThelma Connell
Music byClifton Parker
Distributed byGeneral Film Distributors
Release date
1 March 1949 (1949-03-01)
Running time
101 minutes
CountryUnited Kingdom
LanguageEnglish
Budget£311,100[1]
Box office£351,400 (by 24 December 1949)[2][1]

The Blue Lagoon is a 1949 British coming-of-age romance and adventure film directed and co-produced by Frank Launder (with Sidney Gilliat) and starring Jean Simmons and Donald Houston. The screenplay was adapted by John Baines, Michael Hogan, and Frank Launder from the 1908 novel The Blue Lagoon by Henry De Vere Stacpoole. The original music score was composed by Clifton Parker and the cinematography was by Geoffrey Unsworth.

The film tells the story of two young children shipwrecked on a tropical island paradise in the South Pacific. Emotional feelings and physical changes arise as they grow to maturity and fall in love. The film has major thematic similarities to the Biblical account of Adam and Eve.

Plot

In 1841, 8-year-old Emmeline Foster and 10-year-old Michael Reynolds, two British children, are the survivors of a shipwreck in the South Pacific. After days afloat, they are marooned on a lush tropical island in the company of kindly old sailor Paddy Button. Eventually, Paddy dies in a drunken binge, leaving Emmeline and Michael alone. They survive solely on their resourcefulness and the bounty of their remote paradise.

Eight years later, in 1849, the now-adult couple live together in the island paradise, fish, and collect "beads" from the shellfish in the surrounding lagoon. One day, a ship arrives carrying Doctor Murdoch and James Carter, two British men, who are intimated to have fled as criminals from civilization. Surprised to find the couple on the island, Doctor Murdoch soon realises that Michael collects valuable pearls without knowing their true worth. While Murdoch attempts to trick Michael into getting him a bounty of pearls, Carter tries to kidnap Emmeline and escape. Murdoch and Carter kill each other on the boat, and Michael and Emmeline vow to never attempt to leave the island again. They marry, and during a tropical storm, a child, Paddy, is born.

In 1852, Emmeline is reminded of the outside world and wants to leave the island. She fears for their child if Michael and she should die. Michael gives in to her pleading, and they pack a small boat and leave the island. Becalmed in mid-ocean, they succumb to exposure. A British ship finds them, but the movie only shows that Paddy is still alive in the small boat, leaving their fate unclear.

Cast

Production history

The film was an adaptation of a novel whose previous screen adaptation was completed for release in 1923, but it is the earliest surviving adaptation.

In 1928, Herbert Wilcox acquired the motion picture rights to the novel from I.W. Schlesinger to produce a remake. To eliminate competition with his film, Wilcox purchased all existing prints of the 1923 adaptation. Approximately one year later, he officially announced the inclusion of this project in his portfolio of motion pictures in production.[3][4] He planned to film it in multiple-language versions in French and Spanish,[5] in 2-strip Technicolor, and with a full libretto of native music.[6] The project was abandoned due to the Great Depression, and was not restarted until 1935, now with backing from the newly formed General Film Distributors (GFD). After development resumed, Wilcox planned to cast either Joel McCrea or Richard Cromwell as the male lead. It was going to be shot in 3-strip Technicolor in Honolulu.[7] [8] [9]

After a spectacular fire at the British and Dominions Imperial Studios on 9 February 1936 destroyed the last surviving print of the 1923 film, Wilcox lost interest in the project, though, and the rights were assumed by GFD's new sister company Gainsborough Pictures at the recommendation of Frank Launder, who always admired the novel.[10] Gainsborough announced the film in 1938 as part of a slate of 10 films.[11] The stars were to be Michael Redgrave and Margaret Lockwood, who had just appeared in Gainsborough's The Lady Vanishes; Will Fyffe was to co-star.[12][13] Carol Reed was considered to direct.[14][15] In 1939, Gainsborough went into a co-production with 20th Century Fox to secure funding, and Lockwood was going to co-star with Richard Greene, under contract to Fox.[16] Plans to make the film were postponed due to World War II.[17]

The project was reactivated after the war and announced in 1946, with Frank Launder attached to direct.[18] Extensive location searches were undertaken before deciding to make the film in Fiji.[19]

Plans to make the film were postponed due to Britain's currency difficulties, but eventually, plans were reactivated.[20]

Censorship

In 1946, Joseph Breen told Universal Studios that they could turn the book into a movie if they made some changes to follow the Hays Code. Breen said the characters could not be related, the love should be between grown-ups, and there could not be any sex scenes or birth scenes. He also asked them to take out the parents' suicide. In 1948, Breen approved the script with further changes, like no nudity or suggestive content, and suggested they show the marriage passing incontinently. Indeed, though there were rules and restrictions, they still made and released the movie.[21]

Casting

Jean Simmons was attached to the project at an early stage due to her success in Great Expectations (1946).[22]

Donald Houston was chosen as the male protagonist from a pool of more than 5,000 candidates, 100 of whom had screen tests.[23]

Filming

The film was shot on location in Fiji, Yasawa Islands,[24] and at Pinewood Studios, Iver Heath, Buckinghamshire, England.

In December, a light plane carrying Leslie Gilliat, the producer and brother of Sidney Gilliat, crashed into a river near Suva. Both Gilliat and the pilot escaped unharmed.[25]

Simmons left England in November, spent some time in Australia, and then travelled to Fiji.[26][27] There was uncertainty regarding her entry into Fiji due to her age of 18. The colonial government of Fiji was discussing the possibility of prohibiting individuals under 19 from entering the country as a preventative measure against the introduction of polio.[28]

Houston and Simmons were almost injured in Fiji when their car was overturned.[29]

Most of the filming occurred on the Yasawa Islands, and due to bad weather conditions, the filming process was prolonged for three months.[30] By mid-March 1948, the production unit achieved 90% of its objective in Fiji, accomplishing 222 camera set-ups, equivalent to around 37 minutes of screen time, or roughly one-third of the completed film.[31]

The remaining film production took place at Pinewood, with an interruption in late July 1948. All Technicolor cameras owned by Rank were urgently required at Wembley to capture the official opening of the Olympic Games.[32] The final sequences were completed after the Olympic Games, with filming concluding by the end of August.

Reception

Commercial

The Blue Lagoon was the seventh-most popular film at the British box office in 1949.[33][34] According to Kinematograph Weekly, the 'biggest winner' at the box office in 1949 Britain was The Third Man with "runners up" being Johnny Belinda, The Secret Life of Walter Mitty, The Paleface, Scott of the Antarctic, The Blue Lagoon, Maytime in Mayfair, Easter Parade, Red River, and You Can't Sleep Here.[35]

The film generated producer's receipts amounting to £186,500 within the United Kingdom and £164,900 in overseas markets,[1] ultimately yielding a profit of £40,300 by 24 December 1949[36] primarily driven by its international earnings.

Critical

According to A. H. Weiler, a reviewer from the New York Times, the film depicted a tranquil Polynesian utopia accurately but was lacking in excitement. Nonetheless, he acknowledged that the leisurely-paced events were juxtaposed against a picturesque backdrop of Technicolor sunsets, gorgeous beaches, and verdant vegetation. Additionally, he commended the competent performances of the limited cast. Nevertheless, Weiler believed that the movie's most noteworthy feature was its magnificent Technicolor scenery.[37]

In his review for Variety, Myro expressed that the Technicolor cinematography of a stunning South Pacific setting was an appropriate and romantic setting for the movie. However, he found fault with the weak plot and stated that the tale of two children marooned on a South Sea island lacked a cohesive storyline. Although he praised the movie's visual beauty, he criticised the leading actors for not being challenged beyond their physical appearances.[38]

A Harrison's Reports critic gave a mixed review. The reviewer praised the film's aesthetic qualities and its visually appealing elements. However, the critic had reservations over the plausibility of the narrative and the predominantly sluggish tempo of the picture.[39]

Mandel Herbstman, a critic for the Motion Picture Daily, however, gave a positive review of the movie. He liked how the film used Technicolor to show both beautiful and violent scenes of nature. Herbstman thought that the movie would appeal to a wide range of viewers and could fit into different types of adventure and romance stories. He also mentioned that the film's tension and violent moments added to its dramatic impact. Herbstman praised Jean Simmons' portrayal of the lead female character for her physical grace and innocence. Lastly, he thought that Donald Houston did a good job as the male lead.[40]

Jay Carmody of the Washington Star called it a summertime love cinema must-see. Carmody praised Jean Simmons' film star performance. The film's sensitive and tasteful depiction of two youngsters stranded on a beautiful South Pacific island was praised. Carmody liked the film's unexpected emotional and event depth. He also appreciated the well-used comedy, which enhanced the story. Simmons and Donald Houston's portrayals of Emmeline and Michael, the film's adult characters, were Carmody's highlights. Carmody called The Blue Lagoon a great film, praising Simmons' charming and innocent performance and the supporting cast's work. [41]

The Newsweek reviewer offered a critical perspective. While praising the genuine portrayal of the children's arrival on the island and the film's visual appeal, its loss of credibility and slow character development were criticised. The reviewer also pointed out the contrived nature of the romantic plot and its reliance on coincidences. Despite these flaws, the reviewer acknowledged the film's effectiveness as a form of tropical escapism.[42]

Time criticised the picture for its weaknesses and wasted opportunity. The reviewer found the film's South Sea romance tedious and emotionally sluggish, like a Norse saga. The review praised the film's Technicolour cinematography and delightful props but criticised the absence of character dialogue. Contrived catastrophes like an underwater struggle with an octopus and a delayed sex exploration were unsatisfying attempts to make up for this shortfall. The reviewer also criticised the plot, notably the representation of a child's birth, which they considered unsuitable for Jean Simmons. [43]

Melbourne's The Advocate slammed the picture. The reviewer called the film's storyline juvenile magazine-like and boring. The film's technicolour visuals and stunning surroundings were praised, but the reviewer said the weak storyline hampered the cast. The film was a failure despite enormous publicity and efforts, including flying the crew and casting thousands of miles to Fiji for a genuine backdrop. The reviewer called the result a little mouse, meaning that the considerable resources were not proportionate. The review criticised the film's execution and indirectly blamed J. Arthur Rank.[44]

The Sydney Sunday Herald appreciated the film's visual depiction of adolescent reading material and romantic entertainment value, noticing its lack of novelty but noting its commercial success. The critic praised the Technicolour cinematography and sensitively depicted sensual awakening between the heroes. The two villains' temporary disturbance and the couple's baby-rearing difficulty are discussed. The performers performed well, and the reviewer said the film's choice fit Stacpoole's romantic literary style.[45]

Writing for The Age, Erle Cox criticised the interference of film producers in adapting literary works for the screen, sympathising with the original author and expressing frustration over the alterations made by the producer, particularly in the final chapters of the story. Despite this, he acknowledged the film's justifiable use of the source material, praising the performances of the lead actors and highlighting the film's beautiful tropical setting. Notable scenes, such as an underwater fight and a fortuitous hurricane during filming, are also mentioned.[46]

Philip K. Scheuer of the Los Angeles Times praised the film for having recaptured the magic of the camera medium in portraying a romantic idyll set in the tropics. He lauded the growth of characters played by Jean Simmons and Donald Houston from shipwrecked children to parents on a South Sea isle for 10 years. Scheuer highlighted the exploration of various experiences on the island, including birth, death, greed, lust, and survival, with the characters ultimately being sighted by a ship, and drew favourable comparisons to the type of story Powell and Pressburger would appreciate and credited the talented British collaborators for treating the narrative lovingly. Specific dramatic incidents, character evaluations, and behind-the-scenes information were succinctly addressed, maintaining an overall positive tone towards the film's romantic and adventurous qualities, lead performances, and filmmaking execution.[47]

Richard L. Coe of The Washington Post portrayed the film as a consequence of an unexpected encounter with a how-to-behave manner book, deeming it a pleasant watch, despite its narrative shortcomings. Coe observed the film's struggle to define its narrative focus, appreciating the characters' survival skills and instinct for proper attire, highlighting a thwarted attempt to lure the characters into civilization and emphasising the significance of a book of etiquette in guiding the girl's behaviour. Despite an uncertain objective and leisurely pace, the film was commended for its cool escape quality, an attractive central duo, and visually appealing Technicolor cinematography.[48]

The China Mail's review praised the film for its captivating portrayal of two characters stranded on a Pacific island, commending the expert colour photography, vibrant visuals, and sincere performances while acknowledging minor pacing issues and deeming it likely to appeal to a broad audience appreciating its engaging narrative and unusual climax.[49]

The Hong Kong Telegraph lauded the movie as a genuine escape, with the picturesque setting of Jean Simmons and Donald Houston as castaways, featuring real footage of a hurricane in Fiji, and delivering refreshing entertainment through their enjoyable performances, particularly Noel Purcell's effective portrayal of the sailor landing with them on the island as children.[50]

In his review for The New Republic, Robert Hatch characterized the film as a "monument to unbecoming innocence," depicting the challenges faced by two English children stranded on a tropical island as they navigated the complexities of adulthood, with additional elements like an octopus, pearl hunters, and a treetop apartment left unspecified in terms of their impact on the overall film.[51]

In his review for The St. Louis Post-Dispatch, Myles Standish offered a mixed assessment. While praising the stunning Technicolor visuals capturing the scenic beauty of the South Seas, the critic expressed disappointment in the narrative, stating that the plot lacked substance and failed to create a compelling drama that matched the allure of the setting. The attempt to contrast the simplicity of island life with the chaos of civilization was criticized for being unconvincing and lacking in power, particularly in the portrayal of English renegades whose storyline was deemed skimpy. Despite commending Jean Simmons for her "loveliness" and "strong inner fire," the reviewer highlighted the film's failure to give her a meaningful role and bemoaned the absence of poetic use of the camera to enhance the storytelling. In essence, the film fell short of fully leveraging its visual and casting strengths, resulting in a narrative that did not live up to the potential of its picturesque setting.[52][53]

Roberts Dunstan of the Melbourne Herald provided a critical review of the film, noting significant deviations from the source material. Dunstan expressed confusion about the film's aspirations, criticizing the tepid and unconvincing portrayal of the central love story between two shipwrecked characters. Terms such as "underplayed" and "lukewarm" were used to emphasize the perceived lack of passion and intensity in the romantic elements. The review highlighted the panoramic photography depicting the South Sea setting as the sole positive aspect. Overall, it presented a scathing assessment of a film that failed to capture the essence of the novel and fell short of delivering a compelling cinematic experience, with its visual aesthetics standing as the only redeeming quality.[54]

F. Keith Manzie of The Argus conveyed an overall positive assessment, lauding the lead performances of Jean Simmons and Donald Houston. He described Simmons as "youthful, easy-mannered, and altogether charming," highlighting her as J. Arthur Rank's most promising screen player. The film was commended for its visual appeal, with particular praise for the exciting quality of the early scenes featuring the shipwreck and the marooned children, likened to The Swiss Family Robinson. Manzie noted that The Blue Lagoon stood out among island-themed films of the time, positioning it as the only one deemed acceptable, especially when compared to others featuring Dorothy Lamour and Jon Hall. The lead characters, Emmeline and Michael, were positively appraised, with Simmons being hailed as the most attractive island girl in the film. The supporting cast, including Susan Stranks, Peter Jones, and Noel Purcell, were also recognized for their performances. Despite a noted shift in tone as the characters grew up, the review concluded that The Blue Lagoon provided an agreeable experience as a piece of escapism, successfully offering a visually pleasing and immersive break from reality.[55]

The July 1949 issue of Movieland magazine presented a positive review of the movie, capturing the film's enchanting and visually captivating essence. The reviewer, in a whimsical tone, celebrated the movie's ability to fulfil the universal fantasy of a tropical island shipwreck and the allure of a Robinson Crusoe-like existence, especially with a romantic interest in the opposite sex. Applauding the use of Technicolor and the superb scenery that heightened the cinematic experience, the review highlighted the exquisite portrayal of the character's growth by Jean Simmons and the fitting depiction of the hero by Donald Houston, who was appropriately described as "browned and muscular." Despite acknowledging a lack of narrative coherence, the reviewer maintained an optimistic stance, asserting that the film's overall fascination, beauty, and romantic charm would contribute to audience enjoyment, making The Blue Lagoon a compelling cinematic venture.[56]

Paul Jones of The Atlanta Constitution positively reviewed the film, lauding the unique storyline, the vibrant use of Technicolor, and expressed confidence in the cast's capability to deliver compelling performances, particularly highlighting Jean Simmons' previous memorable role in Hamlet.[57]

In his Film Review, F. Maurice Speed expressed disappointment, deeming it the least interesting work Sidney Gilliat and Frank Launder had produced up to that point. The film failed to captivate Speed, who conveyed a sense of dissatisfaction with the outcome of Gilliat and Launder's ambitious cinematic endeavour.[58]

Despite the narrative potential that its source material offered, George Perry wrote in his book The Great British Picture Show that the movie ultimately fell short of expectations and provided a rather underwhelming cinematic experience.[59]

Steven H. Scheuer gave it a two-star rating, suggesting a lukewarm reception, and noted the picturesque scenery but asserted that it failed to compensate for the film's narrative weaknesses. Described as a "moderate adventure drama," his review provides minimal commentary on the cast and director, emphasizing the film's shortcomings in storytelling despite its visual appeal.[60]

Legacy

David Cronenberg has stated to David Breskin that it was the scariest movie that he ever saw as a kid, and he holds it in high regard. Cronenberg explained that the apprehension represented in this particular film stemmed from the disconnection between the two teenage protagonists and their parents. According to Cronenberg, the concept of parental separation constituted the most fear-inducing factor, as he hypothesised that neonates are universally fearful of such separation. In addition, the individual remarked that adults frequently interpret children's fear of movies based on their perspective, ignoring the fact that children can endure far more frightening circumstances than adults may believe.[61]

Other versions and sequel

See also

References

  1. 1 2 3 Chapman, James (2022). The Money Behind the Screen: A History of British Film Finance, 1945-1985. Edinburgh University Press. p. 354. ISBN 9781399500777. Income is in terms of producer's share of receipts.
  2. ↑ Fowler, Roy; Haines, Taffy (15 May 1990). "Interview with Sidney Gilliat" (PDF). British Entertainment History Project. p. 111.
  3. ↑ "NEW SOUND FILMS". Daily News. No. 16922. Perth, Western Australia, Australia. 29 July 1929. p. 1. Retrieved 2 May 2023.
  4. ↑ "Famous London Stage Stars in B.D.F.'s 26 Talkies". Everyones. Vol. 10, no. 498. 4 September 1929. p. 9. Retrieved 15 April 2023.
  5. ↑ "Details of B.D.F.'s Features. Lovers' Farces Prominent". Everyones. Vol. 11, no. 567. 31 December 1930. p. 28. Retrieved 15 April 2023.
  6. ↑ "B.D.F. Announces Its New Season's Attractions". Everyones. Vol. 12, no. 575. 25 February 1931. p. 18. Retrieved 15 April 2023.
  7. ↑ "HERBERT WILCOX'S PROGRAMME". The West Australian. Vol. 52, no. 15542. Western Australia. 17 April 1936. p. 2. Retrieved 10 October 2017 – via National Library of Australia.
  8. ↑ "BRITISH FILMS". The Sydney Morning Herald. No. 30504. 9 October 1935. p. 14. Retrieved 10 October 2017 – via National Library of Australia.
  9. ↑ "Associated Distributors' 25 World Standard Productions". Everyones. Vol. 15, no. 803. 16 October 1935. p. 8. Retrieved 15 April 2023.
  10. ↑ "FEMININE INTEREST". Warwick Daily News. No. 9124. Queensland, Australia. 1 November 1948. p. 3. Retrieved 19 August 2017 – via National Library of Australia.
  11. ↑ "BRITISH FILM PRODUCTION". The West Australian. Vol. 54, no. 16213. Western Australia. 17 June 1938. p. 9. Retrieved 10 October 2017 – via National Library of Australia.
  12. ↑ "Will Fyffe's Next". The West Australian. Vol. 54, no. 16255. Western Australia. 5 August 1938. p. 3. Retrieved 10 October 2017 – via National Library of Australia.
  13. ↑ ""The"Blue Lagoon" In Technicolor". The Advocate. Tasmania, Australia. 24 June 1938. p. 9. Retrieved 10 October 2017 – via National Library of Australia.
  14. ↑ Wapshott, Nicholas (1990). The man between: a biography of Carol Reed. London: Chatto & Windus. ISBN 0-7011-3353-8. OCLC 24955116.
  15. ↑ Wapshott, Nicholas (1994). Carol Reed: a biography. New York: Knopf. ISBN 0-679-40288-8. OCLC 29027663.
  16. ↑ "Here's Hot News From All Studios!". The Australian Women's Weekly. Vol. 6, no. 35. 4 February 1939. p. 5 (The Movie World). Retrieved 10 October 2017 – via National Library of Australia.
  17. ↑ "New Plays From English Studios". The Mercury. Vol. CLI, no. 21492. Tasmania, Australia. 14 October 1939. p. 5. Retrieved 10 October 2017 – via National Library of Australia.
  18. ↑ "Films". The Sun. No. 11621. Sydney. 24 April 1947. p. 6 (LATE FINAL EXTRA). Retrieved 10 October 2017 – via National Library of Australia.
  19. ↑ "British Film News". The Sydney Morning Herald. No. 34204. 7 August 1947. p. 10. Retrieved 10 October 2017 – via National Library of Australia.
  20. ↑ "FILM NEWS AND GOSSIP". Truth. No. 3010. Sydney. 28 September 1947. p. 58. Retrieved 10 October 2017 – via National Library of Australia.
  21. ↑ Slide, Anthony (1998). 'Banned in the USA': British films in the United States and their censorship, 1933-1960. London: I.B. Tauris. pp. 38–39. ISBN 1860642543. Retrieved 15 April 2023.
  22. ↑ "…and from London". The Mail. Vol. 35, no. 1806. Adelaide. 4 January 1947. p. 9 (Sunday Magazine). Retrieved 10 October 2017 – via National Library of Australia.
  23. ↑ "FILM FLASH CABLE". The Sunday Times. Perth. 21 December 1947. p. 12 Supplement: The Sunday Times MAGAZINE. Retrieved 7 July 2012 – via National Library of Australia.
  24. ↑ "Jean Simmons Goes Native", cover story, Illustrated magazine 15, January 1949
  25. ↑ "Film Plane Crashes at Suva". Kalgoorlie Miner. Vol. 53, no. 13171. Western Australia. 23 December 1947. p. 5. Retrieved 10 October 2017 – via National Library of Australia.
  26. ↑ "Weather Delays British Film Star in Brisbane". The Sydney Morning Herald. No. 34305. 3 December 1947. p. 3. Retrieved 10 October 2017 – via National Library of Australia.
  27. ↑ "Jean Simmons, British Film Star, Here." The Argus. No. 31599. Melbourne. 10 December 1947. p. 4 (The Argus Woman's Magazine). Retrieved 10 October 2017 – via National Library of Australia.
  28. ↑ "Paralysis Precautions May Stop Work on Film". The Chronicle. Vol. 90, no. 5114. Adelaide. 24 December 1947. p. 5. Retrieved 10 October 2017 – via National Library of Australia.
  29. ↑ "British Star of "Blue Lagoon" In Car Capsize". The Age. No. 28918. Victoria, Australia. 1 January 1948. p. 1. Retrieved 10 October 2017 – via National Library of Australia.
  30. ↑ "DELAY IN FILMING OF "BLUE LAGOON"". Tweed Daily. Vol. XXXV, no. 41. New South Wales, Australia. 17 February 1948. p. 6. Retrieved 10 October 2017 – via National Library of Australia.
  31. ↑ "Film unit in Fiji". The West Australian. Vol. 64, no. 19241. Australian Associated Press. 16 March 1948. p. 2.
  32. ↑ "Color Film Of Big Sports". The Mail. Vol. 37, no. 1887. Adelaide. 31 July 1948. p. 6. Retrieved 25 November 2023.
  33. ↑ "TOPS AT HOME". The Courier-Mail. Brisbane. 31 December 1949. p. 4. Retrieved 24 April 2012 – via National Library of Australia.
  34. ↑ Thumim, Janet. "The popular cash and culture in the postwar British cinema industry". Screen. Vol. 32, no. 3. p. 258.
  35. ↑ Lant, Antonia (1991). Blackout: reinventing women for wartime British cinema. Princeton University Press. p. 232.
  36. ↑ Gillett, Philip (2003). The British working class in postwar film. Manchester: Manchester University Press. p. 200. ISBN 0-7190-6257-8. OCLC 50783286.
  37. ↑ The New York Times film reviews (1949-1958). New York: Arno Press. 1968. p. 2363. Retrieved 28 April 2023.
  38. ↑ Myers, Harold (9 March 1949). "The Blue Lagoon". Variety. Vol. 173, no. 13. p. 20. ISSN 0011-5509. Retrieved 28 April 2023.
  39. ↑ ""The Blue Lagoon" with an all-British cast". Harrison's Reports. Vol. 31, no. 31. New York, Harrison's Reports, Inc. 30 July 1949. p. 122. Retrieved 28 April 2023.
  40. ↑ "Reviews". Motion Picture Daily. Vol. 66, no. 25. New York: Motion Picture Daily, Inc. 5 August 1949. p. 4. Retrieved 28 April 2023.
  41. ↑ Carmody, Jay (18 August 1949). ""Blue Lagoon" Gives Keith's Summer's Romantic Idyll". The Evening Star. Vol. 97, no. 225. p. 24. Retrieved 18 June 2023.
  42. ↑ "The Blue Lagoon". Newsweek. Vol. 34, no. 7. Newsweek Media Group Inc. 15 August 1949. p. 80. ISSN 0028-9604. Retrieved 20 June 2023.
  43. ↑ "Blue Lagoon". Time. Vol. 54, no. 13. Time Inc. 26 September 1949. p. 100. ISSN 0040-781X. Retrieved 20 June 2023.
  44. ↑ ""The Blue Lagoon"". The Advocate. No. 4894. 12 May 1949. p. 19. Retrieved 25 June 2023.
  45. ↑ "Reviews of New Films in Sydney". The Sunday Herald. No. 61. 26 March 1950. p. 39. Retrieved 25 June 2023.
  46. ↑ Cox, Erle (14 May 1949). "The Chiel's Film Review". The Age. No. 29343. p. 7. Retrieved 25 June 2023.
  47. ↑ Scheuer, Philip (29 July 1949). "Beguiling Tropic Idyl Displays Jean Simmons". Los Angeles Times. Vol. 68. p. 17. Retrieved 17 December 2023.
  48. ↑ Coe, Richard (18 August 1949). "Boy and Girl Are 'Crusoes' in 'Blue Lagoon at Keith's". The Washington Post. No. 26726. p. 13.
  49. ↑ "Story of 'Blue Lagoon' Opens at Queen's Soon". The China Mail. No. 34362. 19 August 1949. p. 5.
  50. ↑ "The Week's Screen Fare". Hongkong Telegraph. Vol. 4, no. 202. 27 August 1949. p. 2.
  51. ↑ Hatch, Robert (31 October 1949). "Movies". The New Republic. Vol. 121, no. 18. p. 22.
  52. ↑ Standish, Myles (18 November 1949). "Good Ideas, Inadequate Execution". St. Louis Post-Dispatch. Vol. 102, no. 69. p. 50.
  53. ↑ Standish, Myles (20 November 1949). "At the Movies". St. Louis Post-Dispatch. Vol. 102, no. 71. p. 68.
  54. ↑ Dunstan, Roberts (9 May 1949). ""The Blue Lagoon" is tepid". Herald. No. 22452. p. 4. Retrieved 22 December 2023.
  55. ↑ Manzie, F. Keith (9 May 1949). "NEW FILM: "Blue Lagoon" Is Here". The Argus. No. 32037. p. 2. Retrieved 22 December 2023.
  56. ↑ "The Reviewer's Box". Movieland. Vol. 7, no. 6. July 1949. p. 88. Retrieved 23 December 2023 – via The Internet Archive.
  57. ↑ Jones, Paul (31 March 1950). "Lagoon Colorful". The Atlanta Constitution. Vol. 82, no. 289. p. 36.
  58. ↑ Speed, F. Maurice (1949). Film Review. London: Macdonald & Co. p. 13.
  59. ↑ Perry, George (1975). The great British picture show: from the nineties to the seventies. Frogmore: Paladin. p. 134. ISBN 978-0246106452.
  60. ↑ Scheuer, Steven (1977). Movies on TV. 8: 1978-79 (6th printing ed.). New York: Bantam Books. p. 86. ISBN 978-0-553-11451-5.
  61. ↑ Breskin, David (29 October 2013). "David Cronenberg". Retrieved 27 June 2023.
  62. ↑ "Return to the Blue Lagoon is for those who liked original". The Baltimore Sun. Retrieved 19 May 2022.
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