Commercial The Blue Lagoon was the seventh-most popular film at the British box office in 1949. According to
Kinematograph Weekly, the 'biggest winner' at the box office in 1949 Britain was
The Third Man with "runners up" being
Johnny Belinda,
The Secret Life of Walter Mitty,
The Paleface,
Scott of the Antarctic,
The Blue Lagoon,
Maytime in Mayfair,
Easter Parade,
Red River, and ''
You Can't Sleep Here''. The film generated producer's receipts amounting to £186,500 within the United Kingdom and £164,900 in overseas markets, primarily driven by its international earnings.
Critical Contemporary Writing for
the Spectator,
Virginia Graham 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. Writing for the
New Statesman, 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 John Donne|[John] Donne’s 'I wonder, by my troth, what thou and I Did till we loved?'" According to
A. H. Weiler, a reviewer from
the New York Times, the film depicted a tranquil Polynesian utopia accurately but was lacking in excitement. Nonetheless, he acknowledged that the leisurely-paced events were juxtaposed against a picturesque backdrop of Technicolor sunsets, gorgeous beaches, and verdant vegetation. Additionally, he commended the competent performances of the limited cast. Nevertheless, Weiler believed that the movie's most noteworthy feature was its magnificent Technicolor scenery. In his review for
Variety, 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 ''
Harrison's Reports'' critic gave a mixed review. The reviewer praised the film's aesthetic qualities and its visually appealing elements. However, the critic had reservations over the plausibility of the narrative and the predominantly sluggish tempo of the picture.
The Monthly Film Bulletin 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. Mandel Herbstman, a critic for the
Motion Picture Daily, however, gave a positive review of the movie. He liked how the film used Technicolor to show both beautiful and violent scenes of nature. Herbstman thought that the movie would appeal to a wide range of viewers and could fit into different types of adventure and romance stories. He also mentioned that the film's tension and violent moments added to its dramatic impact. Herbstman praised Jean Simmons' portrayal of the lead female character for her physical grace and innocence. Lastly, he thought that Donald Houston did a good job as the male lead. Jay Carmody of
the Washington Star called it a summertime love cinema must-see. Carmody praised Jean Simmons' film star performance. The film's sensitive and tasteful depiction of two youngsters stranded on a beautiful South Pacific island was praised. Carmody liked the film's unexpected emotional and event depth. He also appreciated the well-used comedy, which enhanced the story. Simmons and Donald Houston's portrayals of Emmeline and Michael, the film's adult characters, were Carmody's highlights. Carmody called
The Blue Lagoon a great film, praising Simmons' charming and innocent performance and the supporting cast's work. The
Newsweek reviewer offered a critical perspective. While praising the genuine portrayal of the children's arrival on the island and the film's visual appeal, its loss of credibility and slow character development were criticised. The reviewer also pointed out the contrived nature of the romantic plot and its reliance on coincidences. Despite these flaws, the reviewer acknowledged the film's effectiveness as a form of tropical escapism.
Time criticised the picture for its weaknesses and wasted opportunity. The reviewer found the film's South Sea romance tedious and emotionally sluggish, like a Norse saga. The review praised the film's Technicolour cinematography and delightful props but criticised the absence of character dialogue. Contrived catastrophes like an underwater struggle with an octopus and a delayed sex exploration were unsatisfying attempts to make up for this shortfall. The reviewer also criticised the plot, notably the representation of a child's birth, which they considered unsuitable for Jean Simmons. Lesley Morris of
The Advocate 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. Mae Tinée for the
Chicago Tribune 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.
The Sydney Sunday Herald appreciated the film's visual depiction of adolescent reading material and romantic entertainment value, noticing its lack of novelty but noting its commercial success. The critic praised the Technicolour cinematography and sensitively depicted sensual awakening between the heroes. The two villains' temporary disturbance and the couple's baby-rearing difficulty are discussed. The performers performed well, and the reviewer said the film's choice fit Stacpoole's romantic literary style. In his review for
The Age,
Erle Cox 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. Philip K. Scheuer of the
Los Angeles Times 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
Powell and Pressburger 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.
Richard L. Coe of
The Washington Post portrayed the film as a consequence of an unexpected encounter with a how-to-behave manner book, deeming it a pleasant watch, despite its narrative shortcomings. Coe observed the film's struggle to define its narrative focus, appreciating the characters' survival skills and instinct for proper attire, highlighting a thwarted attempt to lure the characters into civilization and emphasising the significance of a book of etiquette in guiding the girl's behaviour. Despite an uncertain objective and leisurely pace, the film was commended for its cool escape quality, an attractive central duo, and visually appealing Technicolor cinematography.
The China Mail's review praised the film for its captivating portrayal of two characters stranded on a Pacific island, commending the expert colour photography, vibrant visuals, and sincere performances while acknowledging minor pacing issues and deeming it likely to appeal to a broad audience appreciating its engaging narrative and unusual climax. The
Hong Kong Telegraph lauded the movie as a genuine escape, with the picturesque setting of Jean Simmons and Donald Houston as castaways, featuring real footage of a hurricane in Fiji, and delivering refreshing entertainment through their enjoyable performances, particularly Noel Purcell's effective portrayal of the sailor landing with them on the island as children. The film was praised by
The Voice 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. In his review for
The New Republic, Robert Hatch characterized the film as a "monument to unbecoming innocence," depicting the challenges faced by two English children stranded on a tropical island as they navigated the complexities of adulthood, with additional elements like an octopus, pearl hunters, and a treetop apartment left unspecified in terms of their impact on the overall film. Myles Standish from
The St. Louis Post-Dispatch 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.
Roberts Dunstan of the
Melbourne Herald provided a critical review of the film, noting significant deviations from the source material. Dunstan expressed confusion about the film's aspirations, criticizing the tepid and unconvincing portrayal of the central love story between two shipwrecked characters. Terms such as "underplayed" and "lukewarm" were used to emphasize the perceived lack of passion and intensity in the romantic elements. The review highlighted the panoramic photography depicting the South Sea setting as the sole positive aspect. Overall, it presented a scathing assessment of a film that failed to capture the essence of the novel and fell short of delivering a compelling cinematic experience, with its visual aesthetics standing as the only redeeming quality.
F. Keith Manzie of
The Argus conveyed an overall positive assessment, lauding the lead performances of Jean Simmons and Donald Houston. He described Simmons as "youthful, easy-mannered, and altogether charming," highlighting her as J. Arthur Rank's most promising screen player. The film was commended for its visual appeal, with particular praise for the exciting quality of the early scenes featuring the shipwreck and the marooned children, likened to
The Swiss Family Robinson. Manzie noted that
The Blue Lagoon stood out among island-themed films of the time, positioning it as the only one deemed acceptable, especially when compared to others featuring
Dorothy Lamour and
Jon Hall. The lead characters, Emmeline and Michael, were positively appraised, with Simmons being hailed as the most attractive island girl in the film. The supporting cast, including Susan Stranks, Peter Jones, and Noel Purcell, were also recognized for their performances. Despite a noted shift in tone as the characters grew up, the review concluded that
The Blue Lagoon provided an agreeable experience as a piece of escapism, successfully offering a visually pleasing and immersive break from reality. The July 1949 issue of
Movieland magazine presented a positive review of the movie, capturing the film's enchanting and visually captivating essence. The reviewer, in a whimsical tone, celebrated the movie's ability to fulfil the universal fantasy of a tropical island shipwreck and the allure of a
Robinson Crusoe-like existence, especially with a romantic interest in the opposite sex. Applauding the use of Technicolor and the superb scenery that heightened the cinematic experience, the review highlighted the exquisite portrayal of the character's growth by Jean Simmons and the fitting depiction of the hero by Donald Houston, who was appropriately described as "browned and muscular." Despite acknowledging a lack of narrative coherence, the reviewer maintained an optimistic stance, asserting that the film's overall fascination, beauty, and romantic charm would contribute to audience enjoyment, making
The Blue Lagoon a compelling cinematic venture. Helen Hendricks of
Screenland 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. Paul Jones of
The Atlanta Constitution 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
Hamlet. In his
Film Review,
F. Maurice Speed expressed disappointment, deeming it the least interesting work Sidney Gilliat and Frank Launder had produced up to that point. The film failed to captivate Speed, who conveyed a sense of dissatisfaction with the outcome of Gilliat and Launder's ambitious cinematic endeavour. 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. M.J. McMahon of
the Australian Women’s Weekly 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'. Sydney Tomholt from the
Australian Broadcasting Commission 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. Edwin Miller's review in
Seventeen 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. John Burke of the
International Film Review called the film “silly” by criticizing the performance of Jean Simmons as an “imitation of Dorothy Lamour,” but praised the performances of James Hayter and Cyril Cusack.
Alan Dent of
The Illustrated London News praised the film, highlighting its simplicity, sentimentality, and charm. He noted its portrayal of a timeless love story similar to classical and biblical tales, and pointed out the strong performances, the lack of offensive content, and minor plot deviations that increase interest. He also emphasized the film's visual elegance, innocence, and universal appeal, predicting its widespread success and valuing its craftsmanship and emotional sincerity. The
Punch reviewer called the movie “a lot of nonsense,” but found it “entertaining” by praising “many of the scenes” as “a real pleasure to look at.”
Retrospective In 1952, Paul Rotha called the film "an escape into empty romanticism." 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. In the
Sunday Times Guide to Movies on Television, Angela Allan called the film "slow-moving but ultimately pleasant idyll on desert isle." 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.
Steven H. Scheuer gave it a two-star rating, suggesting a lukewarm reception, and noted the picturesque scenery but asserted that it failed to compensate for the film's narrative weaknesses. Described as a "moderate adventure drama," his review provides minimal commentary on the cast and director, emphasizing the film's shortcomings in storytelling despite its visual appeal.
Leonard Maltin called the film "slowly paced but refreshing." 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. 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. == Legacy ==