Brytyjski dyplomata, Robert Conway i mała grupa innych osób znajduje się w samolocie, który ląduje i rozbija się w Himalajach. Pasażerowie zostają uratowani przez tajemniczych osobników, którzy prowadzą ich przez góry do pięknej niczym rajski ogród doliny Shangri-La. Dolina jest otoczona górami i odcięta od świata, nad którym zbierają się czarne, wojenne "chmury". Cudowna kraina wydaje się kuszącą ucieczką dla Conwaya, świadomego nieuchronności nadchodzącej II Wojny Światowej.
James Hilton's novel Lost Horizon proposes a perfect hidden community within the uncharted Himalayas, a land where peace reigns and the inhabitants live for hundreds of years. So indelible is this mythical land that its name has entered the culture: Shangri-La. Director Frank Capra, riding high during his mid-'30s hot streak, spared no expense in creating Hilton's paradise onscreen, taxing the coffers of Columbia Pictures and the patience of mogul Harry Cohn. The results, however, are magical: shimmering, seductive, and maybe a bit foolish, truly the creation of an idealist (understandably, the spectacular art direction won an Oscar). And Capra's hero is an idealist, too. Ronald Colman, at his most marvelously elocutionary, plays a wise diplomat whose plane crashes in the snows of Tibet. He and the other survivors are guided to Shangri-La, where they wrestle with the invitation to stay. The young Jane Wyatt plays Colman's love interest, but leaving a more lasting impression are H.B. Warner as the benevolent Chang and Sam Jaffe, in great old-age makeup, as the wizened High Lama. This version has been restored as closely as possible to Capra's original cut; the film had circulated for many years in a trimmed form. Lost Horizon was remade, notoriously and hilariously, as a big-budget musical in 1973 -- it was a complete flop. --Robert Horton
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