Purely Joyful Movie!

brilliant actors, brilliant editing

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Dated (meaning racist) tale of love among the island people of the South Seas. Two young lovers are separated by slavers when the man is taken away and forced to work in a mining camp. Shot on location in Tahiti, the visual elements of the film are the most appealing aspect of the movie. The characters are paper thin and situations are awfully contrived, though an underwater fight with a shark and some other disaster sequences are pretty exciting for a film shot in 1935. Loosely based upon Melville's "Typee," this film is hardly a classic, but it's entertaining enough.

I recently had the opportunity of viewing this film. It is in black and white and was made quite some time back, but is well worth seeing.Concerning French Polynesia, much of the dialogue is non-English, and the translations are a bit scarce; but not needed much--the actions of the characters and what happens to them tells the story quite adequately.The native men from one island go to another island to steal wives for themselves. The main male character, Taro, kidnaps a woman he especially fancies. She is very unhappy about this--and I fully expected him to drag her back to his island and immediately start raping her, but that is not how it happens. Instead, once he gets there, he courts her-and she begins to become quite taken with his charms.However, there are white men looking for labor for their mines, and the chief in Taro's village is also taken with the woman Taro wants. You can be sure these things come to plenty of troubles for both Taro and his intended.This film was quite different from any I have ever seen before. It was excellently done and well told and I would certainly recommend it.

This is one of those Romances of the South Seas that MGM liked to offer its patrons every year or so. This one is based on Herman Melville's TYPEE, which I was spared in college and never got around to reading on my own.I'll take a moment to speculate that the reason Melville was so adaptable to the movies was that at the heart of his boring, obsessively-detailed novels, there was always a good adventure yarn. Screenwriter John Farrow has whittled this one down to a Rousseau-style Romance of the Noble Savage. The Polynesian lovers are played by Mala, who was an Inuit, and Lotus Long, who hailed from exotic Atlantic City. Richard Thorpe, beginning his long career for Metro, got good performances out of the leads, who speak in what I guess is a Polynesian language, extensively subtitled. They undergo courtship, traders who kidnap Mala to work in a collapsing guano mine, and a big storm. Will true love be denied? While the screenplay is hobbled by the Production Code, the photography is superlative, shot by location specialist Clyde de Vinna. If you can turn your ears off, you'll see a fine little silent film here, with some spectacular views.

Last of the Pagans features some quite stunning black and white photography by Clyde De Vinna and a paper thin story designed to please those who like travelogues with a touch of romance. Shot on location in Tahiti, the film is a lightweight take on the Robert Flaherty oeuvre, with numerous tips of the hat to the great documentarist's features, especially his 1926 South Seas epic Moana. Mala--an Alaskan native discovered by director W.S. Van Dyke during production of the similar Eskimo (1933)--plays Taro, the male chauvinist pig who steals beautiful Lotus Long from her native village and claims her as his own. Last of the Pagans is a relentless parade of cultural imperialism and cliches about primitive peoples and noble savages, but it looks absolutely gorgeous. You're best advised to turn the sound down, ignore the subtitles, and soak up De Vinna's superb camera work.