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.hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">For other uses, see <a href="/wiki/Blue_Lagoon_(disambiguation)" class="mw-redirect mw-disambig" title="Blue Lagoon (disambiguation)">Blue Lagoon</a>.</div> <style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox vevent"><tbody><tr><th colspan="2" class="infobox-above summary" style="font-size: 125%; font-style: italic;">The Blue Lagoon</th></tr><tr><td colspan="2" class="infobox-image"><a href="/wiki/File:Bluelagoonlc8.jpeg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/3/3c/Bluelagoonlc8.jpeg/220px-Bluelagoonlc8.jpeg" decoding="async" width="220" height="174" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/3/3c/Bluelagoonlc8.jpeg/330px-Bluelagoonlc8.jpeg 1.5x, //upload.wikimedia.org/wikipedia/en/3/3c/Bluelagoonlc8.jpeg 2x" data-file-width="355" data-file-height="281" /></a><div class="infobox-caption">Lobby card</div></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Directed by</th><td class="infobox-data"><a href="/wiki/Frank_Launder" title="Frank Launder">Frank Launder</a></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Written by</th><td class="infobox-data">Novel: <a href="/wiki/Henry_De_Vere_Stacpoole" class="mw-redirect" title="Henry De Vere Stacpoole">Henry De Vere Stacpoole</a> Screenplay: John Baines <a href="/wiki/Michael_Hogan_(screenwriter)" title="Michael Hogan (screenwriter)">Michael Hogan</a> Frank Launder</td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Produced by</th><td class="infobox-data"><a href="/wiki/Sidney_Gilliat" title="Sidney Gilliat">Sidney Gilliat</a> Frank Launder</td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Starring</th><td class="infobox-data"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style><div class="plainlist"> <ul><li><a href="/wiki/Jean_Simmons" title="Jean Simmons">Jean Simmons</a></li> <li><a href="/wiki/Donald_Houston" title="Donald Houston">Donald Houston</a></li> <li><a href="/wiki/Noel_Purcell_(actor)" title="Noel Purcell (actor)">Noel Purcell</a></li> <li><a href="/wiki/James_Hayter_(actor)" title="James Hayter (actor)">James Hayter</a></li> <li><a href="/wiki/Cyril_Cusack" title="Cyril Cusack">Cyril Cusack</a></li></ul> </div></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Cinematography</th><td class="infobox-data"><a href="/wiki/Geoffrey_Unsworth" title="Geoffrey Unsworth">Geoffrey Unsworth</a></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Edited by</th><td class="infobox-data"><a href="/wiki/Thelma_Connell" title="Thelma Connell">Thelma Connell</a></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Music by</th><td class="infobox-data"><a href="/wiki/Clifton_Parker" title="Clifton Parker">Clifton Parker</a></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Distributed by</th><td class="infobox-data"><a href="/wiki/General_Film_Distributors" title="General Film Distributors">General Film Distributors</a></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0; white-space: normal;">Release date</div></th><td class="infobox-data"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"><div class="plainlist film-date"> <ul><li>1 March 1949 (1949-03-01)</li></ul> </div></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0; white-space: normal;">Running time</div></th><td class="infobox-data">101 minutes</td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Country</th><td class="infobox-data">United Kingdom</td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Language</th><td class="infobox-data">English</td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Budget</th><td class="infobox-data"><a href="/wiki/Pound_sterling" title="Pound sterling">£</a>311,100<a href="#cite_note-money-1">[1]</a></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Box office</th><td class="infobox-data">£351,400 (by 24 December 1949)<a href="#cite_note-2">[2]</a><a href="#cite_note-money-1">[1]</a></td></tr></tbody></table> The Blue Lagoon is a 1949 British <a href="/wiki/Coming-of-age_story" title="Coming-of-age story">coming-of-age</a> <a href="/wiki/Romance_film" title="Romance film">romance</a> and <a href="/wiki/Adventure_film" title="Adventure film">adventure film</a> directed and co-produced by <a href="/wiki/Frank_Launder" title="Frank Launder">Frank Launder</a> (with <a href="/wiki/Sidney_Gilliat" title="Sidney Gilliat">Sidney Gilliat</a>) and starring <a href="/wiki/Jean_Simmons" title="Jean Simmons">Jean Simmons</a> and <a href="/wiki/Donald_Houston" title="Donald Houston">Donald Houston</a>. The screenplay was adapted by John Baines, <a href="/wiki/Michael_Hogan_(screenwriter)" title="Michael Hogan (screenwriter)">Michael Hogan</a>, and Frank Launder from the 1908 novel <a href="/wiki/The_Blue_Lagoon_(novel)" title="The Blue Lagoon (novel)">The Blue Lagoon</a> by <a href="/wiki/Henry_De_Vere_Stacpoole" class="mw-redirect" title="Henry De Vere Stacpoole">Henry De Vere Stacpoole</a>. The original music score was composed by <a href="/wiki/Clifton_Parker" title="Clifton Parker">Clifton Parker</a> and the cinematography was by <a href="/wiki/Geoffrey_Unsworth" title="Geoffrey Unsworth">Geoffrey Unsworth</a>. The film tells the story of two young children shipwrecked on a <a href="/wiki/Desert_island" class="mw-redirect" title="Desert island">tropical island paradise</a> in the <a href="/wiki/Oceania" title="Oceania">South Pacific</a>. Emotional feelings and physical changes arise as they grow to <a href="/wiki/Sexual_maturity" title="Sexual maturity">maturity</a> and fall in love. The film has major thematic similarities to the <a href="/wiki/Bible" title="Bible">Biblical</a> account of <a href="/wiki/Adam_and_Eve" title="Adam and Eve">Adam and Eve</a>. <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Plot">Plot</h2>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=1" title="Edit section: Plot">edit</a>]</div> In 1841, 8-year-old Emmeline Foster and 10-year-old Michael Reynolds, two British children, are the survivors of a <a href="/wiki/Shipwreck" title="Shipwreck">shipwreck</a> in the South Pacific. After days afloat, they are <a href="/wiki/Marooning" title="Marooning">marooned</a> 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. <a href="https://en.wiktionary.org/wiki/becalmed" class="extiw" title="wikt:becalmed">Becalmed</a> in mid-ocean, they succumb to <a href="/wiki/Exposure_(environmental_hazard)" class="mw-redirect" title="Exposure (environmental hazard)">exposure</a>. A British ship finds them, but the movie only shows that Paddy is still alive in the small boat, leaving their fate unclear. <div class="mw-heading mw-heading2"><h2 id="Cast">Cast</h2>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=2" title="Edit section: Cast">edit</a>]</div> <ul><li><a href="/wiki/Jean_Simmons" title="Jean Simmons">Jean Simmons</a> as Emmeline Foster</li> <li><a href="/wiki/Donald_Houston" title="Donald Houston">Donald Houston</a> as Michael Reynolds</li> <li><a href="/wiki/Susan_Stranks" title="Susan Stranks">Susan Stranks</a> as Emmeline (younger)</li> <li>Peter Rudolph Jones as Michael (younger)</li> <li><a href="/wiki/Noel_Purcell_(actor)" title="Noel Purcell (actor)">Noel Purcell</a> as Paddy Button</li> <li><a href="/wiki/James_Hayter_(actor)" title="James Hayter (actor)">James Hayter</a> as Dr. Murdock</li> <li><a href="/wiki/Cyril_Cusack" title="Cyril Cusack">Cyril Cusack</a> as James Carter</li> <li><a href="/wiki/Nora_Nicholson" title="Nora Nicholson">Nora Nicholson</a> as Mrs. Stannard</li> <li><a href="/wiki/Maurice_Denham" title="Maurice Denham">Maurice Denham</a> as Ship's Captain</li> <li><a href="/wiki/Philip_Stainton" title="Philip Stainton">Philip Stainton</a> as Mr. Ansty</li> <li><a href="/wiki/Patrick_Barr" title="Patrick Barr">Patrick Barr</a> as Second Mate</li> <li>Lyn Evans as Trotter</li> <li><a href="/wiki/Russell_Waters" title="Russell Waters">Russell Waters</a> as Craggs</li> <li><a href="/wiki/John_Boxer_(British_actor)" title="John Boxer (British actor)">John Boxer</a> as Nick Corbett</li> <li>Bill Raymond as Marsden</li></ul> <div class="mw-heading mw-heading2"><h2 id="Production_history">Production history</h2>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=3" title="Edit section: Production history">edit</a>]</div> The film was an adaptation of a novel whose previous screen adaptation was <a href="/wiki/The_Blue_Lagoon_(1923_film)" title="The Blue Lagoon (1923 film)">completed for release in 1923</a>, but it is the earliest surviving adaptation. In 1928, <a href="/wiki/Herbert_Wilcox" title="Herbert Wilcox">Herbert Wilcox</a> acquired the motion picture rights to the novel from <a href="/wiki/I.W._Schlesinger" title="I.W. Schlesinger">I.W. Schlesinger</a> to produce a remake. To eliminate competition with his film, Wilcox purchased all existing prints of the 1923 adaptation that weren't in circulation. A year later, he officially announced the inclusion of this project in his portfolio of motion pictures in production.<a href="#cite_note-3">[3]</a><a href="#cite_note-4">[4]</a><a href="#cite_note-5">[5]</a><a href="#cite_note-6">[6]</a><a href="#cite_note-7">[7]</a> He planned to film it in <a href="/wiki/Multiple-language_version" title="Multiple-language version">multiple-language versions</a> in French and Spanish,<a href="#cite_note-8">[8]</a> in <a href="/wiki/Two-strip_Technicolor" class="mw-redirect" title="Two-strip Technicolor">2-strip Technicolor</a>, and with a full libretto of native music.<a href="#cite_note-9">[9]</a> The project was abandoned due to the <a href="/wiki/Great_Depression" title="Great Depression">Great Depression</a> and was not restarted until 1935, now with backing from the newly formed <a href="/wiki/General_Film_Distributors" title="General Film Distributors">General Film Distributors</a> (GFD). After development resumed, Wilcox planned to cast either <a href="/wiki/Joel_McCrea" title="Joel McCrea">Joel McCrea</a> or <a href="/wiki/Richard_Cromwell_(actor)" title="Richard Cromwell (actor)">Richard Cromwell</a> as the male lead. It was going to be shot in <a href="/wiki/3-strip_Technicolor" class="mw-redirect" title="3-strip Technicolor">3-strip Technicolor</a> in Honolulu.<a href="#cite_note-10">[10]</a><a href="#cite_note-11">[11]</a><a href="#cite_note-12">[12]</a><a href="#cite_note-13">[13]</a><a href="#cite_note-14">[14]</a><a href="#cite_note-15">[15]</a> After a spectacular fire at the <a href="/wiki/British_and_Dominions_Imperial_Studios" title="British and Dominions Imperial Studios">British and Dominions Imperial Studios</a> on 9 February 1936<a href="#cite_note-16">[16]</a> destroyed the last surviving print of the 1923 film, Wilcox lost interest in the project, and the rights were assumed by GFD's new sister company <a href="/wiki/Gainsborough_Pictures" title="Gainsborough Pictures">Gainsborough Pictures</a> at the recommendation of Frank Launder, who always admired the novel.<a href="#cite_note-17">[17]</a> Gainsborough announced the film in 1938 as part of a slate of 10 films.<a href="#cite_note-18">[18]</a><a href="#cite_note-:4-19">[19]</a><a href="#cite_note-20">[20]</a><a href="#cite_note-21">[21]</a> The stars were to be <a href="/wiki/Michael_Redgrave" title="Michael Redgrave">Michael Redgrave</a> and <a href="/wiki/Margaret_Lockwood" title="Margaret Lockwood">Margaret Lockwood</a>,<a href="#cite_note-22">[22]</a><a href="#cite_note-:4-19">[19]</a> who had just appeared in Gainsborough's <a href="/wiki/The_Lady_Vanishes" title="The Lady Vanishes">The Lady Vanishes</a>; <a href="/wiki/Will_Fyffe" title="Will Fyffe">Will Fyffe</a> was to co-star.<a href="#cite_note-23">[23]</a><a href="#cite_note-24">[24]</a><a href="#cite_note-25">[25]</a><a href="#cite_note-26">[26]</a> It was going to be shot on location in the <a href="/wiki/East_Indies" title="East Indies">East Indies</a> for the exteriors and at the Islington Poole Street studio for the interiors.<a href="#cite_note-27">[27]</a> <a href="/wiki/Carol_Reed" title="Carol Reed">Carol Reed</a> was going to direct.<a href="#cite_note-28">[28]</a><a href="#cite_note-29">[29]</a><a href="#cite_note-30">[30]</a> In 1939, Gainsborough went into a co-production with <a href="/wiki/20th_Century_Fox" class="mw-redirect" title="20th Century Fox">20th Century Fox</a> to secure funding, and Lockwood was going to co-star with <a href="/wiki/Richard_Greene" title="Richard Greene">Richard Greene</a>, under contract to Fox.<a href="#cite_note-31">[31]</a><a href="#cite_note-32">[32]</a><a href="#cite_note-33">[33]</a> Plans to make the film were postponed due to <a href="/wiki/World_War_II" title="World War II">World War II</a>.<a href="#cite_note-34">[34]</a><a href="#cite_note-:0-35">[35]</a> The project was reactivated after the war and announced in 1946, with Frank Launder attached to direct.<a href="#cite_note-36">[36]</a><a href="#cite_note-:2-37">[37]</a><a href="#cite_note-38">[38]</a><a href="#cite_note-39">[39]</a><a href="#cite_note-40">[40]</a> Extensive location searches were undertaken before deciding to make the film in Fiji.<a href="#cite_note-41">[41]</a><a href="#cite_note-42">[42]</a> Plans to make the film were postponed due to Britain's currency difficulties,<a href="#cite_note-43">[43]</a> but eventually, plans were reactivated.<a href="#cite_note-44">[44]</a><a href="#cite_note-45">[45]</a> <div class="mw-heading mw-heading3"><h3 id="Censorship">Censorship</h3>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=4" title="Edit section: Censorship">edit</a>]</div> In 1946, <a href="/wiki/Joseph_Breen" title="Joseph Breen">Joseph Breen</a> told <a href="/wiki/Universal_Pictures" title="Universal Pictures">Universal Studios</a> that they could turn the book into a movie if they made some changes to follow the <a href="/wiki/Hays_Code" title="Hays Code">Hays Code</a>. 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.[<a href="/wiki/Wikipedia:Please_clarify" title="Wikipedia:Please clarify">clarification needed</a>] Indeed, though there were rules and restrictions, they still made and released the movie.<a href="#cite_note-46">[46]</a><a href="#cite_note-:2-37">[37]</a> <div class="mw-heading mw-heading3"><h3 id="Casting">Casting</h3>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=5" title="Edit section: Casting">edit</a>]</div> <a href="/wiki/Jean_Simmons" title="Jean Simmons">Jean Simmons</a> was attached to the project at an early stage due to her success in <a href="/wiki/Great_Expectations_(1946_film)" title="Great Expectations (1946 film)">Great Expectations</a> (1946).<a href="#cite_note-47">[47]</a><a href="#cite_note-:0-35">[35]</a><a href="#cite_note-48">[48]</a><a href="#cite_note-49">[49]</a><a href="#cite_note-50">[50]</a><a href="#cite_note-51">[51]</a> Donald Houston was chosen as the male protagonist from a pool of more than 5,000 candidates, including <a href="/wiki/Laurence_Harvey" title="Laurence Harvey">Laurence Harvey</a><a href="#cite_note-52">[52]</a> and <a href="/wiki/Roger_Moore" title="Roger Moore">Roger Moore</a>,<a href="#cite_note-:0-35">[35]</a><a href="#cite_note-53">[53]</a><a href="#cite_note-54">[54]</a><a href="#cite_note-55">[55]</a> 100 of whom had screen tests.<a href="#cite_note-56">[56]</a><a href="#cite_note-57">[57]</a> <div class="mw-heading mw-heading3"><h3 id="Filming">Filming</h3>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=6" title="Edit section: Filming">edit</a>]</div> Before embarking on their journey to the island, Launder, <a href="/wiki/Noel_Purcell_(actor)" title="Noel Purcell (actor)">Noel Purcell</a>, and Jean convened with Prince Thakombow of Fiji, who was studying in London at the time. They treated the prince to a tour of Pinewood, followed by a relaxed discussion regarding the film's production intricacies, including the imminent expedition to the islands, which the prince enthusiastically supported. Before departure, Jean had the privilege of visiting Henry de Vere Stacpoole, the author of The Blue Lagoon, who resided on the Isle of Wight. During this visit, the 84-year-old gifted Jean a green coral charm he had acquired from Fiji four decades earlier while gathering material for his renowned novel.<a href="#cite_note-:0-35">[35]</a><a href="#cite_note-58">[58]</a> On November 27, 1947, Jean Simmons embarked on a journey from <a href="/wiki/Poole" title="Poole">Poole</a> aboard a <a href="/wiki/British_Overseas_Airways_Corporation" title="British Overseas Airways Corporation">BOAC</a> seaplane bound for Sydney, Australia.<a href="#cite_note-59">[59]</a> Arranged by <a href="/wiki/The_Rank_Organisation" title="The Rank Organisation">the Rank Organisation</a> in coordination with her voyage to Fiji, a comprehensive tour of Australia was on her itinerary. The extensive flight included layovers in Cairo, Calcutta, and Singapore. Her departure garnered significant press coverage, with film footage capturing the moment featured in various newsreels. The farewell at the airport was emotionally charged, particularly for Winifred, Jean's mother, who accompanied her daughter. This marked not only Jean's maiden flight but also her inaugural trip abroad, evoking tears as mother and daughter bid each other farewell. After three days, Jean encountered a delay in her flight bound for Sydney when the immigration service in Darwin detained her and twelve other passengers for three hours. Their vaccination documents against cholera were deemed insufficient, causing concern as they had arrived from Cairo, where the virus was rampant, prompting scrutiny from the Australian Department of Health. Fortunately, the situation was resolved the following day.<a href="#cite_note-:0-35">[35]</a><a href="#cite_note-60">[60]</a> Jean's journey encountered complications when the Brisbane airport closure due to inclement weather halted the resumption of her travels.<a href="#cite_note-61">[61]</a><a href="#cite_note-62">[62]</a><a href="#cite_note-63">[63]</a> After a prolonged wait, the plane, which had paused for refueling, eventually landed in Sydney on December 2 amidst the enthusiastic welcome of 50 fans.<a href="#cite_note-64">[64]</a><a href="#cite_note-65">[65]</a><a href="#cite_note-66">[66]</a><a href="#cite_note-67">[67]</a> Her first act upon arrival, as recounted in local media, was to send a food parcel to her mother. On December 5, she graced the gala premiere of Launder’s latest film, <a href="/wiki/Captain_Boycott_(film)" title="Captain Boycott (film)">Captain Boycott</a>, featuring <a href="/wiki/Stewart_Granger" title="Stewart Granger">Stewart Granger</a>, who later married Simmons.<a href="#cite_note-68">[68]</a> Jean's explorations across Australia, spanning from Sydney to Adelaide to Melbourne and back, were meticulously documented in national newspapers. Engagements such as press interviews, radio appearances,<a href="#cite_note-69">[69]</a> visits to various institutions including hospitals, schools, botanical gardens, and zoos, as well as attendance at film premieres, ballet performances, formal dinners, and other public events, filled her schedule<a href="#cite_note-70">[70]</a> until December 21, when she finally departed for the Fiji Islands.<a href="#cite_note-:0-35">[35]</a> 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.<a href="#cite_note-71">[71]</a> On December 22, a light plane carrying <a href="/wiki/Leslie_Gilliat" title="Leslie Gilliat">Leslie Gilliat</a>, the producer and brother of <a href="/wiki/Sidney_Gilliat" title="Sidney Gilliat">Sidney Gilliat</a>, crashed into a river near Suva. Both Gilliat and the pilot escaped unharmed.<a href="#cite_note-72">[72]</a> On <a href="/wiki/New_Year%27s_Eve" title="New Year's Eve">New Year's Eve</a>, Houston and Simmons were almost injured in Fiji when their car was overturned.<a href="#cite_note-73">[73]</a> The crew initially filmed scenes around Suva's capital, lodging at the <a href="/wiki/Grand_Pacific_Hotel_(Fiji)" title="Grand Pacific Hotel (Fiji)">Grand Pacific Hotel</a> on the southeastern shore of <a href="/wiki/Viti_Levu" title="Viti Levu">Viti Levu</a>. Filming on coral reefs in rough seas resulted in injuries for almost every member. After a stop in Lautoka, they traveled to the <a href="/wiki/Yasawa_Islands" title="Yasawa Islands">Yasawa Islands</a> via motorboats from Australia. Jean and her dresser Irene Williams had a cabin to themselves but later shared it with four other crew members. Despite the challenges, the director praised Jean's cooperative attitude in a lengthy article about their experience. During the production, challenges arose in the form of mosquitos, sandflies, snakes, and sharks, which posed threats to the crew's well-being.<a href="#cite_note-74">[74]</a> While Jean managed to escape unscathed, Donald Houston found himself hospitalized after sustaining a severe injury while swimming through a rock-bound water chute. Similarly, Launder suffered a broken wrist towards the end of the shooting, requiring him to wear a sling.<a href="#cite_note-75">[75]</a> These incidents underscored the hazards encountered during the filming process.<a href="#cite_note-:0-35">[35]</a><a href="#cite_note-76">[76]</a><a href="#cite_note-77">[77]</a><a href="#cite_note-78">[78]</a><a href="#cite_note-79">[79]</a> Due to bad weather conditions, the filming process was prolonged for three months.<a href="#cite_note-80">[80]</a> 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.<a href="#cite_note-81">[81]</a> Following three months spent on location, Jean prepared to return to London where filming was set to resume at <a href="/wiki/Pinewood_Studios" title="Pinewood Studios">Pinewood Studios</a> in April. Demonstrating astute planning, Rank arranged her journey back, incorporating stops in <a href="/wiki/Hollywood,_Los_Angeles" title="Hollywood, Los Angeles">Hollywood</a> and <a href="/wiki/New_York_City" title="New York City">New York</a>. This strategic decision was made to promote Jean, who remained relatively unknown in the United States, through local publicity efforts. Arriving in <a href="/wiki/San_Francisco" title="San Francisco">San Francisco</a> on March 17 with a bandaged foot after cutting it on a piece of coral on the last day of shooting in Fiji, Jean was warmly welcomed by her long-separated sister Edna. A horde of reporters awaited her at the <a href="/wiki/Mark_Hopkins_Hotel" title="Mark Hopkins Hotel">Mark Hopkins Hotel</a> and again at <a href="/wiki/Union_Station_(Los_Angeles)" title="Union Station (Los Angeles)">Union Station</a> in <a href="/wiki/Los_Angeles" title="Los Angeles">Los Angeles</a>, where she proceeded after a day.<a href="#cite_note-82">[82]</a> Collecting clothes sent from England and meeting bigwigs <a href="/wiki/Walter_Wanger" title="Walter Wanger">Walter Wanger</a> and <a href="/wiki/Howard_Hughes" title="Howard Hughes">Howard Hughes</a> marked her first day at <a href="/wiki/The_Beverly_Hills_Hotel" title="The Beverly Hills Hotel">the Beverly Hills Hotel</a>, followed by a star-studded cocktail party in her honour.<a href="#cite_note-83">[83]</a><a href="#cite_note-84">[84]</a><a href="#cite_note-85">[85]</a><a href="#cite_note-86">[86]</a> Hollywood offered her a lead role soon, however, she sought advice from her mentor <a href="/wiki/J._Arthur_Rank" title="J. Arthur Rank">J. Arthur Rank</a> before taking a decision. Her most remarkable moment was attending the <a href="/wiki/20th_Academy_Awards" title="20th Academy Awards">20th Academy Awards</a> as an official receiver and collecting the award for <a href="/wiki/Academy_Award_for_Best_Cinematography" title="Academy Award for Best Cinematography">Best Cinematography</a> on behalf of <a href="/wiki/Jack_Cardiff" title="Jack Cardiff">Jack Cardiff</a>, among several others.<a href="#cite_note-87">[87]</a> The prestigious night ended at the <a href="/wiki/Mocambo_(nightclub)" title="Mocambo (nightclub)">Mocambo</a> nightclub socialising with celebrated winners.<a href="#cite_note-:0-35">[35]</a> The remaining film production took place at Pinewood, with an interruption in late July 1948. Upon the resumption of filming, the studio's make-up artist, George Blacker, was tasked with harmonizing the skin tones of Jean Simmons and Donald Houston, as their natural tones were swiftly diminishing.<a href="#cite_note-88">[88]</a> The official opening of the <a href="/wiki/1948_Summer_Olympics" title="1948 Summer Olympics">Olympic Games</a> at <a href="/wiki/Wembley_Stadium_(1923)" title="Wembley Stadium (1923)">Wembley</a> necessitated the urgent use of all of Rank's Technicolor cameras.<a href="#cite_note-89">[89]</a> The final sequences were completed after the Olympic Games, with filming concluding by the end of September.<a href="#cite_note-90">[90]</a> <div class="mw-heading mw-heading2"><h2 id="Reception">Reception</h2>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=7" title="Edit section: Reception">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Commercial">Commercial</h3>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=8" title="Edit section: Commercial">edit</a>]</div> The Blue Lagoon was the seventh-most popular film at the British box office in 1949.<a href="#cite_note-91">[91]</a><a href="#cite_note-92">[92]</a> According to <a href="/wiki/Kinematograph_Weekly" title="Kinematograph Weekly">Kinematograph Weekly</a>, the 'biggest winner' at the box office in 1949 Britain was <a href="/wiki/The_Third_Man" title="The Third Man">The Third Man</a> with "runners up" being <a href="/wiki/Johnny_Belinda_(1948_film)" title="Johnny Belinda (1948 film)">Johnny Belinda</a>, <a href="/wiki/The_Secret_Life_of_Walter_Mitty_(1947_film)" title="The Secret Life of Walter Mitty (1947 film)">The Secret Life of Walter Mitty</a>, <a href="/wiki/The_Paleface_(1948_film)" title="The Paleface (1948 film)">The Paleface</a>, <a href="/wiki/Scott_of_the_Antarctic_(film)" title="Scott of the Antarctic (film)">Scott of the Antarctic</a>, The Blue Lagoon, <a href="/wiki/Maytime_in_Mayfair" title="Maytime in Mayfair">Maytime in Mayfair</a>, <a href="/wiki/Easter_Parade_(film)" title="Easter Parade (film)">Easter Parade</a>, <a href="/wiki/Red_River_(1948_film)" title="Red River (1948 film)">Red River</a>, and <a href="/wiki/I_Was_a_Male_War_Bride" title="I Was a Male War Bride">You Can't Sleep Here</a>.<a href="#cite_note-93">[93]</a> The film generated producer's receipts amounting to £186,500 within the United Kingdom and £164,900 in overseas markets,<a href="#cite_note-money-1">[1]</a> ultimately yielding a profit of £40,300 by 24 December 1949<a href="#cite_note-94">[94]</a> primarily driven by its international earnings. <div class="mw-heading mw-heading3"><h3 id="Critical">Critical</h3>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=9" title="Edit section: Critical">edit</a>]</div> <div class="mw-heading mw-heading4"><h4 id="Contemporary">Contemporary</h4>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=10" title="Edit section: Contemporary">edit</a>]</div> Writing for <a href="/wiki/The_Spectator" title="The Spectator">the Spectator</a>, <a href="/wiki/Virginia_Graham_(English_writer)" title="Virginia Graham (English writer)">Virginia Graham</a> praised the film by deftly navigating the potential pitfalls of a South Seas romance, anticipating a clichéd spectacle of tropical excess but finding instead a charming narrative. She commended the film for its restraint from sentimentality, noting the poignant early scenes with child actors Susan Stranks and Peter Jones. She criticized Donald Houston's acting, albeit acknowledging his aesthetic fit for the role while praising Jean Simmons for her performance. Graham also highlighted the film's visual appeal, particularly the scenery. Despite the film's potential for tropical clichés, Graham found it pleasantly devoid of such excesses, making it rather charming.<a href="#cite_note-95">[95]</a> Writing for the <a href="/wiki/New_Statesman" title="New Statesman">New Statesman</a>, William Whitebait offered a disparaging perspective, likening the arrival of popular novels and plays to the screen to the unanticipated appearance of a heavily advertised product on a store shelf. He stated, "Best-sellers from the circulating library and the stage have an awful way of looming up on the screen like some toothpaste or pickle which, threatening for years from advertisements, at last, confronts us as the only brand on the counter." Whitebait described the film as a "sad, absurd little idyll" of two castaways, a boy, and a girl, on an island, criticizing the lack of character growth, the film's reliance on the idyllic setting, and the charm of its leads, Donald Houston and Jean Simmons. He noted, "They do a good deal of hopping about beaches instead; and since Mr. Donald Houston and Miss Jean Simmons make a charming pair, and the beach is real Pacific in Technicolor, this is a dream of a film for the snowy evenings." Whitebait concluded his review with a critique of Houston's performance, suggesting that the actor may have taken liberties with his character's dialogue. He wrote, "I don’t know, by the way, that Mr. Houston had been playing quite fair, because when the revelation comes he quotes very pat to the moment <a href="/wiki/John_Donne" title="John Donne">[John] Donne</a>’s 'I wonder, by my troth, what thou and I Did till we loved?'"<a href="#cite_note-96">[96]</a> According to <a href="/wiki/A._H._Weiler" title="A. H. Weiler">A. H. Weiler</a>, a reviewer from <a href="/wiki/The_New_York_Times" title="The New York Times">the New York Times</a>, 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.<a href="#cite_note-97">[97]</a> In his review for <a href="/wiki/Variety_(magazine)" title="Variety (magazine)">Variety</a>, Harold Myers 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.<a href="#cite_note-98">[98]</a> A <a href="/wiki/Harrison%27s_Reports" title="Harrison's Reports">Harrison's Reports</a> 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.<a href="#cite_note-99">[99]</a> <a href="/wiki/The_Monthly_Film_Bulletin" title="The Monthly Film Bulletin">The Monthly Film Bulletin</a> offered a nuanced perspective, noting initial interest and action in the narrative before a decline in momentum. While praising Noel Purcell's excellent portrayal of the sailor and the standout performance of Cyril Cusack as a trader, it found the lead actors, Jean Simmons and Donald Houston, competent but not outstanding. The review acknowledged the film's visual appeal, citing beautiful Fijian locations and impressive cinematography, but criticized its length and perceived lack of depth.<a href="#cite_note-100">[100]</a> Mandel Herbstman, a critic for the <a href="/wiki/Motion_Picture_Daily" title="Motion Picture Daily">Motion Picture Daily</a>, 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.<a href="#cite_note-101">[101]</a> Jay Carmody of <a href="/wiki/The_Washington_Star" title="The Washington Star">the Washington Star</a> 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. <a href="#cite_note-102">[102]</a> The <a href="/wiki/Newsweek" title="Newsweek">Newsweek</a> 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.<a href="#cite_note-103">[103]</a> <a href="/wiki/Time_(magazine)" title="Time (magazine)">Time</a> 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. <a href="#cite_note-104">[104]</a> Lesley Morris of <a href="/wiki/The_Advocate_(Melbourne)" title="The Advocate (Melbourne)">The Advocate</a> criticized the movie for its childish and dull plot, stating that despite its visually stunning scenes and beautiful locations, extensive publicity, and efforts such as shooting in Fiji, the film couldn't escape failure, hinting at mismanagement of resources and indirectly holding J. Arthur Rank accountable for the flawed execution.<a href="#cite_note-105">[105]</a> Mae Tinée for the <a href="/wiki/Chicago_Tribune" title="Chicago Tribune">Chicago Tribune</a> praised the film's picturesque setting and captivating beginning, with skilful scenes of survival on a deserted island. She commended the performances of the cast, particularly the child actors and Noel Purcell. However, she noted a loss of momentum in the narrative as it transitions into a routine romance. Tinée highlighted the film's superb cinematography, including stunning shots of nature and a dramatic hurricane scene. She criticized the pacing in the later reels, suggesting it could have concluded more effectively.<a href="#cite_note-106">[106]</a> <a href="/wiki/The_Sun-Herald" title="The Sun-Herald">The Sydney Sunday Herald</a> 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.<a href="#cite_note-107">[107]</a> In his review for <a href="/wiki/The_Age" title="The Age">The Age</a>, <a href="/wiki/Erle_Cox" title="Erle Cox">Erle Cox</a> expressed disappointment over film producers' interference in adapting literary works to the screen, sympathizing with the original authors and criticizing the alterations made by producers, particularly in the story's ending. However, he acknowledged the film's faithful use of the source material, praised the lead actors' performances, and highlighted the film's scenic tropical setting. He also pointed out memorable scenes, such as an underwater battle and a fortuitous hurricane during filming.<a href="#cite_note-108">[108]</a> Philip K. Scheuer of the <a href="/wiki/Los_Angeles_Times" title="Los Angeles Times">Los Angeles Times</a> commended the film for its enchanting use of cinematography to depict a tropical romance. He praised the development of Jean Simmons and Donald Houston's characters, who evolve from castaways to parents over a decade on a South Sea island. Scheuer noted the film's portrayal of life's extremes, including birth, death, and the struggle for survival, culminating in the characters' rescue by a passing ship. He compared the narrative favorably to stories by <a href="/wiki/Powell_and_Pressburger" title="Powell and Pressburger">Powell and Pressburger</a> and acknowledged the British team's affectionate treatment of the plot. The review succinctly covered dramatic moments, character development, and production insights, all the while applauding the film's romantic and adventurous spirit, standout performances, and directorial prowess.<a href="#cite_note-109">[109]</a> <a href="/wiki/Richard_L._Coe" title="Richard L. Coe">Richard L. Coe</a> of <a href="/wiki/The_Washington_Post" title="The Washington Post">The Washington Post</a> 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.<a href="#cite_note-110">[110]</a> <a href="/wiki/The_China_Mail" title="The China Mail">The China Mail</a>'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.<a href="#cite_note-111">[111]</a> The <a href="/wiki/Hongkong_Telegraph" class="mw-redirect" title="Hongkong Telegraph">Hong Kong Telegraph</a> 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.<a href="#cite_note-112">[112]</a> The film was praised by <a href="/wiki/The_Voice_(Tasmanian_newspaper)" title="The Voice (Tasmanian newspaper)">The Voice</a> for its charm and exquisite visuals. Jean Simmons received praise for her fitting performance as Emmeline, while Donald Houston impressed as the young man. Noel Purcell's portrayal of the sailor was highly regarded, and James Hayter and Cyril Cusack were praised for their effective portrayal of two deceitful characters.<a href="#cite_note-113">[113]</a> In his review for <a href="/wiki/The_New_Republic" title="The New Republic">The New Republic</a>, 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.<a href="#cite_note-114">[114]</a> Myles Standish from <a href="/wiki/St._Louis_Post-Dispatch" title="St. Louis Post-Dispatch">The St. Louis Post-Dispatch</a> lauded the film's stunning Technicolor visuals of the South Seas, while criticizing the weak storyline which did not match its visually striking setting. Standish pointed out the film's failed attempt to contrast island life with societal chaos, especially in its portrayal of English renegades. While he praised actress Jean Simmons for her performance, he lamented the film's inability to give her a significant role and lack of artistic camera work. Standish concluded that the film did not effectively leverage its visual and casting strengths, leading to a narrative that fell short of its vibrant setting.<a href="#cite_note-115">[115]</a><a href="#cite_note-116">[116]</a> <a href="/wiki/Roberts_Dunstan" title="Roberts Dunstan">Roberts Dunstan</a> of the <a href="/wiki/The_Herald_(Melbourne)" title="The Herald (Melbourne)">Melbourne Herald</a> 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.<a href="#cite_note-117">[117]</a> <a href="/wiki/Andrew_Manzie" title="Andrew Manzie">F. Keith Manzie</a> of <a href="/wiki/The_Argus_(Melbourne)" title="The Argus (Melbourne)">The Argus</a> 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 <a href="/wiki/The_Swiss_Family_Robinson" title="The Swiss Family Robinson">The Swiss Family Robinson</a>. 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 <a href="/wiki/Dorothy_Lamour" title="Dorothy Lamour">Dorothy Lamour</a> and <a href="/wiki/Jon_Hall_(actor)" title="Jon Hall (actor)">Jon Hall</a>. 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.<a href="#cite_note-118">[118]</a> 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 <a href="/wiki/Robinson_Crusoe" title="Robinson Crusoe">Robinson Crusoe</a>-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.<a href="#cite_note-119">[119]</a> Helen Hendricks of <a href="/wiki/Screenland" title="Screenland">Screenland</a> appreciated the film's adventurous plot and the convincing transformation of the protagonists from children to adults, played by Donald Houston and Jean Simmons. However, she subtly criticised their desire to leave their paradise, indicating a conflict between nature's allure and societal constructs.<a href="#cite_note-120">[120]</a> Paul Jones of <a href="/wiki/The_Atlanta_Journal-Constitution" title="The Atlanta Journal-Constitution">The Atlanta Constitution</a> positively reviewed the film, lauding the unique storyline and 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 <a href="/wiki/Hamlet_(1948_film)" title="Hamlet (1948 film)">Hamlet</a>.<a href="#cite_note-121">[121]</a> In his <a href="/wiki/Film_Review_(annual)" title="Film Review (annual)">Film Review</a>, <a href="/wiki/F._Maurice_Speed" title="F. Maurice Speed">F. Maurice Speed</a> 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.<a href="#cite_note-122">[122]</a> Pierre Robin of La Cinématographie Française critiqued the film as long and static, though he acknowledged the well-executed dramatic scenes, adequate staging, aesthetically appealing colour palette and locations, and recognized the performances of Susan Stranks, Peter Jones, Jean Simmons, and Donald Houston while deeming Noel Purcell's portrayal of a grumpy sailor as perfect.<a href="#cite_note-123">[123]</a> M.J. McMahon of <a href="/wiki/The_Australian_Women%27s_Weekly" title="The Australian Women's Weekly">the Australian Women’s Weekly</a> had appreciated the film's aesthetic appeal, noting the 'naive charm' and 'lovely' scenery, a result of the location work in Fiji, and the characters' development, from shipwrecked children to mature adults. The plot had been described as 'light and fragile', suggesting it was not the film's main strength. McMahon had also highlighted the performances of Jean Simmons and Donald Houston, the romantic leads, with a slight critique of Houston's performance as 'stilted at times'.<a href="#cite_note-124">[124]</a> Sydney Tomholt from the <a href="/wiki/Australian_Broadcasting_Corporation" title="Australian Broadcasting Corporation">Australian Broadcasting Commission</a> criticised the film's non-traditional narrative about two shipwrecked children, citing a weak script devoid of realism and incident. The initial part was praised for character portrayal but introducing island traders shifted the narrative to melodrama, lessening engagement. The ending, differing from the book, was noted. Despite an exciting octopus fight and stunning tropical scenes, the film's dull portrayal of castaways' life, acted by Jean Simmons and Donald Houston, was criticised.<a href="#cite_note-125">[125]</a> Edwin Miller's review in <a href="/wiki/Seventeen_(American_magazine)" title="Seventeen (American magazine)">Seventeen</a> magazine describes the film as a captivating English production. Despite its unhurried pacing, Miller highlighted the movie's appeal through its vivid color photography and inherent simplicity. The cinematography not only enhanced the visual experience but also complemented the film's straightforward charm, making it an enjoyable and pleasant viewing experience.<a href="#cite_note-126">[126]</a> <div class="mw-heading mw-heading4"><h4 id="Retrospective">Retrospective</h4>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=11" title="Edit section: Retrospective">edit</a>]</div> In 1952, Paul Rotha called the film "an escape into empty romanticism."<a href="#cite_note-127">[127]</a> In his 1964 book Where We Came In, C.A. Oakley criticized the film, calling it a 'pot-boiler', suggesting that it lacked creativity and critical acclaim despite being financially successful.<a href="#cite_note-128">[128]</a> In the <a href="/wiki/The_Sunday_Times" title="The Sunday Times">Sunday Times</a> Guide to Movies on Television, Angela Allan called the film "slow-moving but ultimately pleasant idyll on desert isle."<a href="#cite_note-129">[129]</a> 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.<a href="#cite_note-130">[130]</a> <a href="/wiki/Steven_H._Scheuer" title="Steven H. Scheuer">Steven H. Scheuer</a> 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.<a href="#cite_note-131">[131]</a> <a href="/wiki/Leonard_Maltin" title="Leonard Maltin">Leonard Maltin</a> called the film "slowly paced but refreshing."<a href="#cite_note-132">[132]</a> In a 2007 analysis, Shane Burridge compared the 1949 and 1980 film adaptations of The Blue Lagoon. Burridge faulted the 1949 version for its superficial treatment of survival and abrupt maturation while praising the 1980 remake's explicit sexual content. He commended the 1949 film's innocence and performances but noted unsettling hints of a grim finale. Burridge suggested that audience preference might swing between the original and the remake based on these elements.<a href="#cite_note-133">[133]</a> Robin Holabird wrote in 2021 that the movie "captures the tone using less salaciousness than the 1980 interpretation." He praised it as a respectable endeavour owing to the involvement of a director who once worked with Alfred Hitchcock, an Academy Award-winning cinematographer, and talented actress Jean Simmons.<a href="#cite_note-:3-134">[134]</a> <div class="mw-heading mw-heading2"><h2 id="Legacy">Legacy</h2>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=12" title="Edit section: Legacy">edit</a>]</div> <a href="/wiki/David_Cronenberg" title="David Cronenberg">David Cronenberg</a> has stated to <a href="/wiki/David_Breskin" title="David Breskin">David Breskin</a> 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.<a href="#cite_note-135">[135]</a> An interview with Susan Stranks for the BFI channel on <a href="/wiki/YouTube" title="YouTube">YouTube</a> in 2021 revived interest in the film.<a href="#cite_note-136">[136]</a> <div class="mw-heading mw-heading2"><h2 id="Other_versions_and_sequel">Other versions and sequel</h2>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=13" title="Edit section: Other versions and sequel">edit</a>]</div> <ul><li>The novel was adapted into a motion picture by a Hollywood studio (<a href="/wiki/Columbia_Pictures" title="Columbia Pictures">Columbia Pictures</a>) for the first time <a href="/wiki/The_Blue_Lagoon_(1980_film)" title="The Blue Lagoon (1980 film)">in a version that was released in 1980</a> starring <a href="/wiki/Brooke_Shields" title="Brooke Shields">Brooke Shields</a> and <a href="/wiki/Christopher_Atkins" title="Christopher Atkins">Christopher Atkins</a>. The updated version, directed by <a href="/wiki/Randal_Kleiser" title="Randal Kleiser">Randal Kleiser</a> and written by <a href="/wiki/Douglas_Day_Stewart" title="Douglas Day Stewart">Douglas Day Stewart</a>, included nudity and sexual content, although not as much as the book. According to Kleiser himself, it was the book and not the 1949 film that inspired his version of the story.<a href="#cite_note-137">[137]</a> However, because it used the same locations and kept some features as the 1949 film, it could be considered a remake.<a href="#cite_note-:3-134">[134]</a> That version was followed in 1991 by the sequel <a href="/wiki/Return_to_the_Blue_Lagoon" title="Return to the Blue Lagoon">Return to the Blue Lagoon</a>, starring <a href="/wiki/Milla_Jovovich" title="Milla Jovovich">Milla Jovovich</a> and <a href="/wiki/Brian_Krause" title="Brian Krause">Brian Krause</a>. Although the sequel bears a strong similarity to the 1980 film, it bears little resemblance to Stacpoole's second novel, <a href="/wiki/The_Garden_of_God" title="The Garden of God">The Garden of God</a>. The pearl-greedy traders do not appear in Stacpoole's original novel, but in the third novel, <a href="/wiki/The_Gates_of_Morning" title="The Gates of Morning">The Gates of Morning</a>, a pair of sailors attack the people of a nearby island for pearls after seeing a woman wearing a double pearl hair ornament, as Emmeline does in the 1949 film.<a href="#cite_note-138">[138]</a></li> <li>A "contemporary remake" of The Blue Lagoon was made for television in 2012. Called <a href="/wiki/Blue_Lagoon:_The_Awakening" title="Blue Lagoon: The Awakening">Blue Lagoon: The Awakening</a>, it depicts two teenagers Emmaline Robinson (<a href="/wiki/Indiana_Evans" title="Indiana Evans">Indiana Evans</a>) and Dean McCullen (<a href="/wiki/Brenton_Thwaites" title="Brenton Thwaites">Brenton Thwaites</a>) being stranded on a tropical island. The male lead from the 1980 film, <a href="/wiki/Christopher_Atkins" title="Christopher Atkins">Christopher Atkins</a>, appears in this film as one of the teachers on the shipborne field trip where Emma and Dean are lost at sea and end up on an island.</li></ul> <div class="mw-heading mw-heading2"><h2 id="Availability">Availability</h2>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=14" title="Edit section: Availability">edit</a>]</div> The Blue Lagoon made its television debut in the United States on <a href="/wiki/American_Broadcasting_Company" title="American Broadcasting Company">ABC</a>'s <a href="/wiki/Famous_Film_Festival" title="Famous Film Festival">Famous Film Festival</a> on December 18, 1955. By the 1960s and 1970s, it became a television staple but, due to tighter broadcast schedules and several royalty disputes, its last appearances on broadcast television were in 1980 on <a href="/wiki/WWOR-TV" title="WWOR-TV">WOR-TV</a> in New York,<a href="#cite_note-139">[139]</a> in 1981 on <a href="/wiki/TCN" title="TCN">TCN-9</a> in Sydney,<a href="#cite_note-140">[140]</a> and in 1982 on <a href="/wiki/ITV_Tyne_Tees" title="ITV Tyne Tees">Tyne Tees Television</a>.<a href="#cite_note-141">[141]</a> As a result, the film remained unseen on television due to rights conflicts between the estate of the novel's author Henry De Vere Stacpoole, who died in 1951, and controlled the motion picture rights to the story in every English-language-speaking country<a href="#cite_note-142">[142]</a> except for the United States, where the novel has already become part of the <a href="/wiki/Public_domain" title="Public domain">public domain</a>, and the Rank Organisation, who controlled the rights to the 1949 film, rendering the movie as a virtual <a href="/wiki/Orphan_work" title="Orphan work">orphan work</a>. Due to these issues, the film has not yet been released formally on home video.<a href="#cite_note-:1-143">[143]</a> However, <a href="/wiki/Carlton_Communications" title="Carlton Communications">Carlton Communications</a>, later merged with <a href="/wiki/Granada_plc" title="Granada plc">Granada plc</a> to form <a href="/wiki/ITV_plc" title="ITV plc">ITV plc</a>, which inherited Rank's film library, licensed clips of the film to <a href="/wiki/Sony_Pictures_Home_Entertainment" title="Sony Pictures Home Entertainment">Sony Pictures Home Entertainment</a> for their 2003 DVD release of the 1980 film adaptation of the book. <div class="mw-heading mw-heading2"><h2 id="Preservation">Preservation</h2>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=15" title="Edit section: Preservation">edit</a>]</div> One 16mm copy is held at the <a href="/wiki/UCLA_Film_and_Television_Archive" title="UCLA Film and Television Archive">UCLA Film and Television Archive</a>. The film could be viewed at the <a href="/wiki/BFI_National_Archive" title="BFI National Archive">BFI National Archive</a>.<a href="#cite_note-:1-143">[143]</a><a href="#cite_note-144">[144]</a><a href="#cite_note-145">[145]</a> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=16" title="Edit section: See also">edit</a>]</div> <ul><li><a href="/wiki/State_of_nature" title="State of nature">State of nature</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=17" title="Edit section: References">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-money-1">^ <a href="#cite_ref-money_1-0">a</a> <a href="#cite_ref-money_1-1">b</a> <a href="#cite_ref-money_1-2">c</a> <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFChapman2022" class="citation book cs1">Chapman, James (2022). The Money Behind the Screen: A History of British Film Finance, 1945-1985. Edinburgh University Press. p. 354. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781399500777" title="Special:BookSources/9781399500777"><bdi>9781399500777</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Money+Behind+the+Screen%3A+A+History+of+British+Film+Finance%2C+1945-1985&rft.pages=354&rft.pub=Edinburgh+University+Press&rft.date=2022&rft.isbn=9781399500777&rft.aulast=Chapman&rft.aufirst=James&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> Income is in terms of producer's share of receipts. </li> <li id="cite_note-2"><a href="#cite_ref-2">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFowlerHaines1990" class="citation web cs1">Fowler, Roy; Haines, Taffy (15 May 1990). <a rel="nofollow" class="external text" href="https://historyproject.org.uk/sites/default/files/BEHP%200143%20T%20Sidney%20Gilliat%20Transcript.pdf">"Interview with Sidney Gilliat"</a> (PDF). British Entertainment History Project. p. 111.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=British+Entertainment+History+Project&rft.atitle=Interview+with+Sidney+Gilliat&rft.pages=111&rft.date=1990-05-15&rft.aulast=Fowler&rft.aufirst=Roy&rft.au=Haines%2C+Taffy&rft_id=https%3A%2F%2Fhistoryproject.org.uk%2Fsites%2Fdefault%2Ffiles%2FBEHP%25200143%2520T%2520Sidney%2520Gilliat%2520Transcript.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> </li> <li id="cite_note-3"><a href="#cite_ref-3">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1">"Great British talkie move". <a href="/wiki/Daily_Mirror" title="Daily Mirror">Daily Mirror</a>. 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Vol. 47, no. 11. p. 22.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Showmen%27s+Trade+Review&rft.atitle=London+observations&rft.volume=47&rft.issue=11&rft.pages=22&rft.date=1947-09-13&rft.aulast=MacGregor&rft.aufirst=Jock&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> </li> <li id="cite_note-44"><a href="#cite_ref-44">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://nla.gov.au/nla.news-article168783249">"FILM NEWS AND GOSSIP"</a>. <a href="/wiki/Truth_(Sydney_newspaper)" title="Truth (Sydney newspaper)">Truth</a>. No. 3010. Sydney. 28 September 1947. p. 58. 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Tauris. pp. 38–39. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1860642543" title="Special:BookSources/1860642543"><bdi>1860642543</bdi></a>. Retrieved 15 April 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=%27Banned+in+the+USA%27%3A+British+films+in+the+United+States+and+their+censorship%2C+1933-1960&rft.place=London&rft.pages=38-39&rft.pub=I.B.+Tauris&rft.date=1998&rft.isbn=1860642543&rft.aulast=Slide&rft.aufirst=Anthony&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fbannedinusabriti0000slid%2Fpage%2F38%2Fmode%2F1up&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> </li> <li id="cite_note-47"><a href="#cite_ref-47">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://nla.gov.au/nla.news-article55886550">"…and from London"</a>. <a href="/wiki/The_Mail_(Adelaide)" class="mw-redirect" title="The Mail (Adelaide)">The Mail</a>. Vol. 35, no. 1806. Adelaide. 4 January 1947. p. 9 (Sunday Magazine). 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Allen. p. 41. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-352-39842-0" title="Special:BookSources/978-0-352-39842-0"><bdi>978-0-352-39842-0</bdi></a> – via <a href="/wiki/Internet_Archive" title="Internet Archive">Internet Archive</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+prince+Laurence+Harvey+%3A+his+public+and+private+life&rft.place=London%2C+England&rft.pages=41&rft.pub=W.H.+Allen&rft.date=1976&rft.isbn=978-0-352-39842-0&rft.aulast=Hickey&rft.aufirst=Des&rft_id=http%3A%2F%2Farchive.org%2Fdetails%2Fprincelaurenceha0000hick&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> </li> <li id="cite_note-53"><a href="#cite_ref-53">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDonovan1983" class="citation book cs1">Donovan, Paul (1983). Roger Moore. London: Allen. p. 28. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0863790054" title="Special:BookSources/0863790054"><bdi>0863790054</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Roger+Moore&rft.place=London&rft.pages=28&rft.pub=Allen&rft.date=1983&rft.isbn=0863790054&rft.aulast=Donovan&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> </li> <li id="cite_note-54"><a href="#cite_ref-54">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMoseleyMasheterMesheter1985" class="citation book cs1">Moseley, Roy; Masheter, Philip; Mesheter, Martin (1985). Roger Moore: a biography. 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Retrieved 27 June 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=David+Cronenberg&rft.date=2013-10-29&rft.aulast=Breskin&rft.aufirst=David&rft_id=https%3A%2F%2Fdavidbreskin.com%2Fbooks%2Finner-views%2Fdavid-cronenberg-3%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> </li> <li id="cite_note-136"><a href="#cite_ref-136">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation audio-visual cs1"><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=vDfJnQlK7Jw">Susan Stranks on The Blue Lagoon (1949) | BFI Southbank Q&As</a>. <a href="/wiki/British_Film_Institute" title="British Film Institute">British Film Institute</a>. 20 August 2021. Retrieved 25 May 2024 – via YouTube.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Susan+Stranks+on+The+Blue+Lagoon+%281949%29+%7C+BFI+Southbank+Q%26As&rft.pub=British+Film+Institute&rft.date=2021-08-20&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DvDfJnQlK7Jw&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> </li> <li id="cite_note-137"><a href="#cite_ref-137">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSargent1981" class="citation news cs1">Sargent, Dave (April 1981). <a rel="nofollow" class="external text" href="http://nla.gov.au/nla.news-article213732905">"Getting the bends in a murky Blue Lagoon"</a>. Filmnews. p. 8. Retrieved 17 April 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Filmnews&rft.atitle=Getting+the+bends+in+a+murky+Blue+Lagoon&rft.pages=8&rft.date=1981-04&rft.aulast=Sargent&rft.aufirst=Dave&rft_id=http%3A%2F%2Fnla.gov.au%2Fnla.news-article213732905&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> </li> <li id="cite_note-138"><a href="#cite_ref-138">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.baltimoresun.com/news/bs-xpm-1991-08-02-1991214206-story.html">"Return to the Blue Lagoon is for those who liked original"</a>. The Baltimore Sun. 2 August 1991. Retrieved 19 May 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Baltimore+Sun&rft.atitle=Return+to+the+Blue+Lagoon+is+for+those+who+liked+original&rft.date=1991-08-02&rft_id=https%3A%2F%2Fwww.baltimoresun.com%2Fnews%2Fbs-xpm-1991-08-02-1991214206-story.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> </li> <li id="cite_note-139"><a href="#cite_ref-139">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1">"Television". <a href="/wiki/New_York_(magazine)" title="New York (magazine)">New York</a>. Vol. 13, no. 43. 3 November 1980. p. 146.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=New+York&rft.atitle=Television&rft.volume=13&rft.issue=43&rft.pages=146&rft.date=1980-11-03&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> </li> <li id="cite_note-140"><a href="#cite_ref-140">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://nla.gov.au/nla.news-article46460596">"TV and Entertainment World"</a>. <a href="/wiki/The_Australian_Women%27s_Weekly" title="The Australian Women's Weekly">The Australian Women's Weekly</a>. Vol. 49, no. 21. Sydney, New South Wales, Australia. 28 October 1981. p. 164. Retrieved 14 April 2024 – via <a href="/wiki/National_Library_of_Australia" title="National Library of Australia">National Library of Australia</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Australian+Women%27s+Weekly&rft.atitle=TV+and+Entertainment+World&rft.volume=49&rft.issue=21&rft.pages=164&rft.date=1981-10-28&rft_id=http%3A%2F%2Fnla.gov.au%2Fnla.news-article46460596&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> </li> <li id="cite_note-141"><a href="#cite_ref-141">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDear1982" class="citation news cs1">Dear, Peter (20 April 1982). "Today's television and radio programmes". <a href="/wiki/The_Times" title="The Times">The Times</a>. No. 61212. London, England. p. 27.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Times&rft.atitle=Today%27s+television+and+radio+programmes&rft.issue=61212&rft.pages=27&rft.date=1982-04-20&rft.aulast=Dear&rft.aufirst=Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> </li> <li id="cite_note-142"><a href="#cite_ref-142">^</a> The copyrights to Henry De Vere Stacpoole's works expired on 31 December 2001 in Australia, Canada, New Zealand and South Africa, on 31 December 2011 in India, and on 31 December 2021 in the United Kingdom and the Republic of Ireland. </li> <li id="cite_note-:1-143">^ <a href="#cite_ref-:1_143-0">a</a> <a href="#cite_ref-:1_143-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBabington2002" class="citation book cs1">Babington, Bruce (2002). <a rel="nofollow" class="external text" href="https://archive.org/details/laundergilliat0000babi/page/134">"'Happy days': The Blue Lagoon, The Happiest Days of Your Life, The Belles of St Trinians, etc."</a>. Launder and Gilliat. Manchester, England: Manchester University Press. p. 134. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7190-5667-3" title="Special:BookSources/978-0-7190-5667-3"><bdi>978-0-7190-5667-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=%27Happy+days%27%3A+The+Blue+Lagoon%2C+The+Happiest+Days+of+Your+Life%2C+The+Belles+of+St+Trinians%2C+etc.&rft.btitle=Launder+and+Gilliat&rft.place=Manchester%2C+England&rft.pages=134&rft.pub=Manchester+University+Press&rft.date=2002&rft.isbn=978-0-7190-5667-3&rft.aulast=Babington&rft.aufirst=Bruce&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Flaundergilliat0000babi%2Fpage%2F134&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> </li> <li id="cite_note-144"><a href="#cite_ref-144">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://collections-search.bfi.org.uk/web/Details/ChoiceFilmWorks/150017319">"The Blue Lagoon (1949)"</a>. BFI Collections Search. <a href="/wiki/British_Film_Institute" title="British Film Institute">British Film Institute</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=BFI+Collections+Search&rft.atitle=The+Blue+Lagoon+%281949%29&rft_id=https%3A%2F%2Fcollections-search.bfi.org.uk%2Fweb%2FDetails%2FChoiceFilmWorks%2F150017319&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> </li> <li id="cite_note-145"><a href="#cite_ref-145">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1">The British cinema source book: BFI archive viewing copies and library materials. London: British Film Institute. 1995. p. 70. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0851704743" title="Special:BookSources/0851704743"><bdi>0851704743</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+British+cinema+source+book%3A+BFI+archive+viewing+copies+and+library+materials&rft.place=London&rft.pages=70&rft.pub=British+Film+Institute&rft.date=1995&rft.isbn=0851704743&rfr_id=info%3Asid%2Fen.wikipedia.org%3AThe+Blue+Lagoon+%281949+film%29" class="Z3988"> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2>[<a href="/w/index.php?title=The_Blue_Lagoon_(1949_film)&action=edit&section=18" title="Edit section: External links">edit</a>]</div> <ul><li><a rel="nofollow" class="external text" href="https://www.imdb.com/title/tt0041190/">The Blue Lagoon</a> at <a href="/wiki/IMDb_(identifier)" class="mw-redirect" title="IMDb (identifier)">IMDb</a></li> <li><a rel="nofollow" class="external text" href="https://www.rottentomatoes.com/m/the_blue_lagoon_1949">The Blue Lagoon</a> at <a href="/wiki/Rotten_Tomatoes" title="Rotten Tomatoes">Rotten Tomatoes</a></li> <li><a rel="nofollow" class="external text" href="https://www.tcm.com/tcmdb/title/69220/enwp">The Blue Lagoon (1949)</a> at the <a href="/wiki/Turner_Classic_Movies" title="Turner Classic Movies">TCM Movie Database</a></li> <li><a rel="nofollow" class="external text" href="https://www.allmovie.com/movie/v85509">The Blue Lagoon (1949)</a> at <a href="/wiki/AllMovie" title="AllMovie">AllMovie</a></li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist 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href="/wiki/Template:The_Blue_Lagoon" title="Template:The Blue Lagoon"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:The_Blue_Lagoon" title="Template talk:The Blue Lagoon"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:The_Blue_Lagoon" title="Special:EditPage/Template:The Blue Lagoon"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="The_Blue_Lagoon_by_Henry_de_Vere_Stacpoole" style="font-size:114%;margin:0 4em">The Blue Lagoon by <a href="/wiki/Henry_de_Vere_Stacpoole" title="Henry de Vere Stacpoole">Henry de Vere Stacpoole</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Novels</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/The_Blue_Lagoon_(novel)" title="The Blue Lagoon (novel)">The Blue Lagoon</a> (1908)</li> <li><a href="/wiki/The_Garden_of_God" title="The Garden of God">The Garden of God</a> (1923)</li> <li><a href="/wiki/The_Gates_of_Morning" title="The Gates of Morning">The Gates of Morning</a> (1925)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Films</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/The_Blue_Lagoon_(1923_film)" title="The Blue Lagoon (1923 film)">The Blue Lagoon</a> (1923)</li> <li><a class="mw-selflink selflink">The Blue Lagoon</a> (1949)</li> <li><a href="/wiki/The_Blue_Lagoon_(1980_film)" title="The Blue Lagoon (1980 film)">The Blue Lagoon</a> (1980)</li> <li><a href="/wiki/Pengantin_Pantai_Biru" title="Pengantin Pantai Biru">Pengantin Pantai Biru</a> (1983)</li> <li><a href="/wiki/Return_to_the_Blue_Lagoon" title="Return to the Blue Lagoon">Return to the Blue Lagoon</a> (1991)</li> <li><a href="/wiki/Blue_Lagoon:_The_Awakening" title="Blue Lagoon: The Awakening">Blue Lagoon: The Awakening</a> (2012)</li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox" aria-labelledby="Films_of_Frank_Launder_and_Sidney_Gilliat" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Launder_and_Gilliat" title="Template:Launder and Gilliat"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Launder_and_Gilliat" title="Template talk:Launder and Gilliat"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Launder_and_Gilliat" title="Special:EditPage/Template:Launder and Gilliat"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Films_of_Frank_Launder_and_Sidney_Gilliat" style="font-size:114%;margin:0 4em">Films of <a href="/wiki/Frank_Launder" title="Frank Launder">Frank Launder</a> and <a href="/wiki/Sidney_Gilliat" title="Sidney Gilliat">Sidney Gilliat</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Gilliat only</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Writer only</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Red_Pearls" title="Red Pearls">Red Pearls</a> (1930)</li> <li><a href="/wiki/You%27d_Be_Surprised!" title="You'd Be Surprised!">You'd Be Surprised!</a> (1930)</li> <li><a href="/wiki/Lord_Richard_in_the_Pantry" title="Lord Richard in the Pantry">Lord Richard in the Pantry</a> (1930)</li> <li><a href="/wiki/Bed_and_Breakfast_(1930_film)" title="Bed and Breakfast (1930 film)">Bed and Breakfast</a> (1930)</li> <li><a href="/wiki/Third_Time_Lucky_(1931_film)" title="Third Time Lucky (1931 film)">Third Time Lucky</a> (1931)</li> <li><a href="/wiki/The_Ringer_(1931_film)" title="The Ringer (1931 film)">The Ringer</a> (1931)</li> <li><a href="/wiki/The_Ghost_Train_(1931_film)" title="The Ghost Train (1931 film)">The Ghost Train</a> (1931)</li> <li><a href="/wiki/The_Happy_Ending_(1931_film)" title="The Happy Ending (1931 film)">The Happy Ending</a> (1931)</li> <li><a href="/wiki/A_Gentleman_of_Paris_(1931_film)" title="A Gentleman of Paris (1931 film)">A Gentleman of Paris</a> (1931)</li> <li><a href="/wiki/Rome_Express" title="Rome Express">Rome Express</a> (1932)</li> <li><a href="/wiki/Falling_for_You_(film)" title="Falling for You (film)">Falling for You</a> (1933)</li> <li><a href="/wiki/Orders_Is_Orders" title="Orders Is Orders">Orders Is Orders</a> (1933)</li> <li><a href="/wiki/Friday_the_Thirteenth_(1933_film)" title="Friday the Thirteenth (1933 film)">Friday the Thirteenth</a> (1933)</li> <li><a href="/wiki/Jack_Ahoy" title="Jack Ahoy">Jack Ahoy</a> (1934)</li> <li><a href="/wiki/Chu_Chin_Chow_(1934_film)" title="Chu Chin Chow (1934 film)">Chu Chin Chow</a> (1934)</li> <li><a href="/wiki/My_Heart_is_Calling" title="My Heart is Calling">My Heart is Calling</a> (1935)</li> <li><a href="/wiki/Bulldog_Jack" title="Bulldog Jack">Bulldog Jack</a> (1935)</li> <li><a href="/wiki/King_of_the_Damned" title="King of the Damned">King of the Damned</a> (1936)</li> <li><a href="/wiki/Where_There%27s_a_Will_(1936_film)" title="Where There's a Will (1936 film)">Where There's a Will</a> (1936)</li> <li><a href="/wiki/The_Man_Who_Changed_His_Mind" title="The Man Who Changed His Mind">The Man Who Changed His Mind</a> (1936)</li> <li><a href="/wiki/Strangers_on_Honeymoon" title="Strangers on Honeymoon">Strangers on Honeymoon</a> (1936)</li> <li><a href="/wiki/Take_My_Tip" title="Take My Tip">Take My Tip</a> (1937)</li> <li><a href="/wiki/A_Yank_at_Oxford" title="A Yank at Oxford">A Yank at Oxford</a> (1938)</li> <li><a href="/wiki/Strange_Boarders" title="Strange Boarders">Strange Boarders</a> (1938)</li> <li><a href="/wiki/The_Gaunt_Stranger" title="The Gaunt Stranger">The Gaunt Stranger</a> (1938)</li> <li><a href="/wiki/Ask_a_Policeman" title="Ask a Policeman">Ask a Policeman</a> (1938)</li> <li><a href="/wiki/Jamaica_Inn_(film)" title="Jamaica Inn (film)">Jamaica Inn</a> (1939)</li> <li><a href="/wiki/The_Girl_in_the_News" title="The Girl in the News">The Girl in the News</a> (1940)</li> <li><a href="/wiki/Mr._Proudfoot_Shows_a_Light" title="Mr. Proudfoot Shows a Light">Mr. Proudfoot Shows a Light</a> (1941)</li> <li><a href="/wiki/Kipps_(1941_film)" title="Kipps (1941 film)">Kipps</a> (1941)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Director</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Waterloo_Road_(film)" title="Waterloo Road (film)">Waterloo Road</a> (1945)</li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Launder only</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Writer only</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Under_the_Greenwood_Tree_(1929_film)" title="Under the Greenwood Tree (1929 film)">Under the Greenwood Tree</a> (1929)</li> <li><a href="/wiki/Children_of_Chance_(1930_film)" title="Children of Chance (1930 film)">Children of Chance</a> (1930)</li> <li><a href="/wiki/The_W_Plan" title="The W Plan">The W Plan</a> (1930)</li> <li><a href="/wiki/The_Middle_Watch_(1930_film)" title="The Middle Watch (1930 film)">The Middle Watch</a> (1930)</li> <li><a href="/wiki/How_He_Lied_to_Her_Husband" title="How He Lied to Her Husband">How He Lied to Her Husband</a> (1931 short)</li> <li><a href="/wiki/Hobson%27s_Choice_(1931_film)" title="Hobson's Choice (1931 film)">Hobson's Choice</a> (1931)</li> <li><a href="/wiki/Keepers_of_Youth" title="Keepers of Youth">Keepers of Youth</a> (1931)</li> <li><a href="/wiki/The_Woman_Between_(1931_British_film)" title="The Woman Between (1931 British film)">The Woman Between</a> (1931)</li> <li><a href="/wiki/Children_of_Fortune" title="Children of Fortune">Children of Fortune</a> (1931)</li> <li><a href="/wiki/After_Office_Hours_(1932_film)" title="After Office Hours (1932 film)">After Office Hours</a> (1932)</li> <li><a href="/wiki/Josser_in_the_Army" title="Josser in the Army">Josser in the Army</a> (1932)</li> <li><a href="/wiki/Old_Spanish_Customers" title="Old Spanish Customers">Old Spanish Customers</a> (1933)</li> <li><a href="/wiki/You_Made_Me_Love_You_(film)" title="You Made Me Love You (film)">You Made Me Love You</a> (1933)</li> <li><a href="/wiki/For_the_Love_of_Mike_(1932_film)" title="For the Love of Mike (1932 film)">For the Love of Mike</a> (1932)</li> <li><a href="/wiki/Hawley%27s_of_High_Street" title="Hawley's of High Street">Hawley's of High Street</a> (1933)</li> <li><a href="/wiki/A_Southern_Maid_(film)" title="A Southern Maid (film)">A Southern Maid</a> (1933)</li> <li><a href="/wiki/Those_Were_the_Days_(1934_film)" title="Those Were the Days (1934 film)">Those Were the Days</a> (1933)</li> <li><a href="/wiki/Happy_(1933_film)" title="Happy (1933 film)">Happy</a> (1933)</li> <li><a href="/wiki/Get_Off_My_Foot" title="Get Off My Foot">Get Off My Foot</a> (1935)</li> <li><a href="/wiki/Rolling_Home_(1935_film)" title="Rolling Home (1935 film)">Rolling Home</a> (1935)</li> <li><a href="/wiki/The_Black_Mask_(1935_film)" title="The Black Mask (1935 film)">The Black Mask</a> (1935)</li> <li><a href="/wiki/Emil_and_the_Detectives_(1935_film)" title="Emil and the Detectives (1935 film)">Emil and the Detectives</a> (1935)</li> <li><a href="/wiki/So_You_Won%27t_Talk_(1935_film)" title="So You Won't Talk (1935 film)">So You Won't Talk</a> (1935)</li> <li><a href="/wiki/Mr._What%27s-His-Name%3F" title="Mr. What's-His-Name?">Mr. What's-His-Name?</a> (1935)</li> <li><a href="/wiki/The_Loves_of_Madame_Dubarry" title="The Loves of Madame Dubarry">I Give My Heart</a> (1935)</li> <li><a href="/wiki/Educated_Evans_(film)" title="Educated Evans (film)">Educated Evans</a> (1936)</li> <li><a href="/wiki/Where%27s_Sally%3F" title="Where's Sally?">Where's Sally?</a> (1936)</li> <li><a href="/wiki/Don%27t_Get_Me_Wrong_(film)" title="Don't Get Me Wrong (film)">Don't Get Me Wrong</a> (1937)</li> <li><a href="/wiki/Oh,_Mr_Porter!" title="Oh, Mr Porter!">Oh, Mr Porter!</a> (1937)</li> <li><a href="/wiki/A_Girl_Must_Live" title="A Girl Must Live">A Girl Must Live</a> (1939)</li> <li><a href="/wiki/Inspector_Hornleigh_Goes_To_It" title="Inspector Hornleigh Goes To It">Inspector Hornleigh Goes To It</a> (1941)</li> <li><a href="/wiki/We_Dive_at_Dawn" title="We Dive at Dawn">We Dive at Dawn</a> (1943)</li> <li><a href="/wiki/Ring_of_Spies" title="Ring of Spies">Ring of Spies</a> (1964)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Director</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/The_Last_Coupon" title="The Last Coupon">The Last Coupon</a> (1932)</li> <li><a href="/wiki/Two_Thousand_Women" title="Two Thousand Women">Two Thousand Women</a> (1944)</li> <li><a href="/wiki/The_Wildcats_of_St_Trinian%27s" title="The Wildcats of St Trinian's">The Wildcats of St Trinian's</a> (1980)</li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Together</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Writers only</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Facing_the_Music_(1933_film)" title="Facing the Music (1933 film)">Facing the Music</a> (1933)</li> <li><a href="/wiki/Twelve_Good_Men" title="Twelve Good Men">Twelve Good Men</a> (1936)</li> <li><a href="/wiki/Seven_Sinners_(1936_film)" title="Seven Sinners (1936 film)">Seven Sinners</a> (1936)</li> <li><a href="/wiki/The_Lady_Vanishes" title="The Lady Vanishes">The Lady Vanishes</a> (1938)</li> <li><a href="/wiki/Inspector_Hornleigh_on_Holiday" title="Inspector Hornleigh on Holiday">Inspector Hornleigh on Holiday</a> (1939)</li> <li><a href="/wiki/They_Came_by_Night" title="They Came by Night">They Came by Night</a> (1940)</li> <li><a href="/wiki/Night_Train_to_Munich" title="Night Train to Munich">Night Train to Munich</a> (1940)</li> <li><a href="/wiki/The_Young_Mr._Pitt" title="The Young Mr. Pitt">The Young Mr. Pitt</a> (1942)</li> <li><a href="/wiki/The_Green_Man_(film)" title="The Green Man (film)">The Green Man</a> (1956)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Directed together</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Partners_in_Crime_(1942_film)" title="Partners in Crime (1942 film)">Partners in Crime</a> (1942 short)</li> <li><a href="/wiki/Millions_Like_Us" title="Millions Like Us">Millions Like Us</a> (1943)</li> <li><a href="/wiki/The_Great_St._Trinian%27s_Train_Robbery" title="The Great St. Trinian's Train Robbery">The Great St. Trinian's Train Robbery</a> (1966)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Directed by Gilliat</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/The_Rake%27s_Progress_(film)" title="The Rake's Progress (film)">The Rake's Progress</a> (1945)</li> <li><a href="/wiki/Green_for_Danger_(film)" title="Green for Danger (film)">Green for Danger</a> (1946)</li> <li><a href="/wiki/London_Belongs_to_Me" title="London Belongs to Me">London Belongs to Me</a> (1948)</li> <li><a href="/wiki/State_Secret_(1950_film)" title="State Secret (1950 film)">State Secret</a> (1950)</li> <li><a href="/wiki/The_Story_of_Gilbert_and_Sullivan" title="The Story of Gilbert and Sullivan">The Story of Gilbert and Sullivan</a> (1953)</li> <li><a href="/wiki/The_Constant_Husband" title="The Constant Husband">The Constant Husband</a> (1955)</li> <li><a href="/wiki/Fortune_Is_a_Woman" title="Fortune Is a Woman">Fortune Is a Woman</a> (1956)</li> <li><a href="/wiki/Left_Right_and_Centre" title="Left Right and Centre">Left Right and Centre</a> (1959)</li> <li><a href="/wiki/Only_Two_Can_Play" title="Only Two Can Play">Only Two Can Play</a> (1962)</li> <li><a href="/wiki/Endless_Night_(1972_film)" title="Endless Night (1972 film)">Endless Night</a> (1972)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Directed by Launder</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/I_See_a_Dark_Stranger" title="I See a Dark Stranger">I See a Dark Stranger</a> (1946)</li> <li><a href="/wiki/Captain_Boycott_(film)" title="Captain Boycott (film)">Captain Boycott</a> (1947)</li> <li><a class="mw-selflink selflink">The Blue Lagoon</a> (1949)</li> <li><a href="/wiki/The_Happiest_Days_of_Your_Life_(film)" title="The Happiest Days of Your Life (film)">The Happiest Days of Your Life</a> (1950)</li> <li><a href="/wiki/Lady_Godiva_Rides_Again" title="Lady Godiva Rides Again">Lady Godiva Rides Again</a> (1951)</li> <li><a href="/wiki/Folly_to_Be_Wise" title="Folly to Be Wise">Folly to Be Wise</a> (1952)</li> <li><a href="/wiki/The_Belles_of_St._Trinian%27s" title="The Belles of St. Trinian's">The Belles of St. Trinian's</a> (1954)</li> <li><a href="/wiki/Geordie_(film)" title="Geordie (film)">Geordie</a> (1955)</li> <li><a href="/wiki/Blue_Murder_at_St_Trinian%27s" title="Blue Murder at St Trinian's">Blue Murder at St Trinian's</a> (1957)</li> <li><a href="/wiki/The_Bridal_Path_(film)" title="The Bridal Path (film)">The Bridal Path</a> (1959)</li> <li><a href="/wiki/The_Pure_Hell_of_St_Trinian%27s" title="The Pure Hell of St Trinian's">The Pure Hell of St Trinian's</a> (1960)</li> <li><a href="/wiki/Joey_Boy_(film)" title="Joey Boy (film)">Joey Boy</a> (1965)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Producers only</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/The_Smallest_Show_on_Earth" title="The Smallest Show on Earth">The Smallest Show on Earth</a> (1957)</li> <li><a href="/wiki/Ooh%E2%80%A6_You_Are_Awful" title="Ooh… You Are Awful">Ooh… You Are Awful</a> (1972)</li></ul> </div></td></tr></tbody></table><div></div></td></tr></tbody></table></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=The_Blue_Lagoon_(1949_film)&oldid=1259082610">https://en.wikipedia.org/w/index.php?title=The_Blue_Lagoon_(1949_film)&oldid=1259082610</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:1949_films" title="Category:1949 films">1949 films</a></li><li><a href="/wiki/Category:1940s_adventure_drama_films" title="Category:1940s adventure drama films">1940s adventure drama films</a></li><li><a href="/wiki/Category:1949_romantic_drama_films" title="Category:1949 romantic drama films">1949 romantic drama films</a></li><li><a href="/wiki/Category:British_adventure_films" title="Category:British adventure films">British adventure films</a></li><li><a href="/wiki/Category:British_romantic_drama_films" title="Category:British romantic drama films">British romantic drama films</a></li><li><a href="/wiki/Category:Films_about_children" title="Category:Films about children">Films about children</a></li><li><a href="/wiki/Category:Films_about_survivors_of_seafaring_accidents_or_incidents" title="Category:Films about survivors of seafaring accidents or incidents">Films about survivors of seafaring accidents or incidents</a></li><li><a href="/wiki/Category:Films_based_on_British_novels" title="Category:Films based on British novels">Films based on British novels</a></li><li><a href="/wiki/Category:Films_based_on_romance_novels" title="Category:Films based on romance novels">Films based on romance novels</a></li><li><a href="/wiki/Category:Films_directed_by_Frank_Launder" title="Category:Films directed by Frank Launder">Films directed by Frank Launder</a></li><li><a href="/wiki/Category:Films_scored_by_Clifton_Parker" title="Category:Films scored by Clifton Parker">Films scored by Clifton Parker</a></li><li><a href="/wiki/Category:Films_set_in_Oceania" title="Category:Films set in Oceania">Films set in Oceania</a></li><li><a href="/wiki/Category:Films_shot_at_Pinewood_Studios" title="Category:Films shot at Pinewood Studios">Films shot at Pinewood Studios</a></li><li><a href="/wiki/Category:Films_shot_in_Fiji" title="Category:Films shot in Fiji">Films shot in Fiji</a></li><li><a href="/wiki/Category:Romantic_period_films" title="Category:Romantic period films">Romantic period films</a></li><li><a href="/wiki/Category:Films_with_screenplays_by_Frank_Launder_and_Sidney_Gilliat" title="Category:Films with screenplays by Frank Launder and Sidney Gilliat">Films with screenplays by Frank Launder and Sidney Gilliat</a></li><li><a href="/wiki/Category:Universal_Pictures_films" title="Category:Universal Pictures films">Universal Pictures films</a></li><li><a href="/wiki/Category:Films_set_in_the_1840s" title="Category:Films set in the 1840s">Films set in the 1840s</a></li><li><a href="/wiki/Category:Films_set_in_1841" title="Category:Films set in 1841">Films set in 1841</a></li><li><a href="/wiki/Category:Films_set_in_1849" title="Category:Films set in 1849">Films set in 1849</a></li><li><a href="/wiki/Category:Films_set_in_the_1850s" title="Category:Films set in the 1850s">Films set in the 1850s</a></li><li><a href="/wiki/Category:Films_set_in_1852" title="Category:Films set in 1852">Films set in 1852</a></li><li><a href="/wiki/Category:Films_set_in_the_Victorian_era" title="Category:Films set in the Victorian era">Films set in the Victorian era</a></li><li><a href="/wiki/Category:Films_set_on_uninhabited_islands" title="Category:Films set on uninhabited islands">Films set on uninhabited islands</a></li><li><a href="/wiki/Category:Films_about_juvenile_sexuality" title="Category:Films about juvenile sexuality">Films about juvenile sexuality</a></li><li><a href="/wiki/Category:1940s_British_films" title="Category:1940s British films">1940s British films</a></li><li><a href="/wiki/Category:Films_based_on_The_Blue_Lagoon_(novel)" title="Category:Films based on The Blue Lagoon (novel)">Films based on The Blue Lagoon (novel)</a></li></ul></div><div id="mw-hidden-catlinks" class="mw-hidden-catlinks mw-hidden-cats-hidden">Hidden categories: <ul><li><a href="/wiki/Category:CS1_French-language_sources_(fr)" title="Category:CS1 French-language sources (fr)">CS1 French-language sources (fr)</a></li><li><a href="/wiki/Category:Articles_with_short_description" title="Category:Articles with short description">Articles with short description</a></li><li><a href="/wiki/Category:Short_description_is_different_from_Wikidata" title="Category:Short description is different from 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