KING SOLOMON’S MINES (1937)

Originally published in 1885, H. Rider Haggard’s book was still showing up as major motion picture material every other decade a century later (1919; 1937; 1950; 1985).  To say nothing of once-removed second cousins for Tarzan & Maciste to visit; even a Son-Of iteration in WATUSI/’59.  And that’s before hitting the small screen via one-offs & series in spite of dated elements and attitudes: Darkest Africa clichés; Great White Hunter leading man.  M-G-M’s splashy version of 1950 (Stewart Granger, Deborah Kerr, African location backgrounds, TechniColor - https://maksquibs.blogspot.com/2008/05/king-solomons-mines-1950.html) long considered the class act in a landfill of kitsch, usually given top rating.  But a look at this British production when seen in a good print, easily overtakes it.  With solid journeyman director Robert Stevenson* on U.K. studio work, producer Geoffrey Barkas shooting location footage in Africa and cinematographer Glen MacWilliams (he’d later do remarkably convincing water tank work for Hitchcock in LIFEBOAT/’44) getting it all to match up pretty well, the film holds up better than M-G-M’s.  Just don’t expect major studio Hollywood technical polish.  (Certainly no ‘invisible’ editing!)  But what really makes this version a standout is in how it follows the book and in how well it’s cast.  Cedric Hardwicke, Roland Young, John Loder and Anna Lee all dashing, amusing, romantic as needed.  And then there’s Paul Robeson as mysterious fellow traveler Umbopa; friend, foe or just out for himself?  Just shy of 40 and in terrific shape, still built like the former Rutger’s football star he’d been before stage & concert hall, it’s probably the best role of his curtailed film career.  Somehow making his aid to these White fortune hunters & adventurers believable in even the most ridiculous situations.  And when he opens his mouth to sing one of the pseudo African songs, especially when he lets his bass bottom loose, he’s simply undeniable on screen.  He also looks like he’s having a great time.

ATTENTION MUST BE PAID:  *Yes, the same Robert Stevenson who directed Orson Welles in JANE EYRE/’43 and became Disney’s top house director in the ‘50s and ‘60s: MARY POPPINS/’64 and a host of Disney hits.  Considering his gross figures include half-price kids, it’s entirely possible Stevenson is the most commercially successful director in Hollywood history counting not by dollars but admissions.