Jivaro

Shamelessly, this DVD loses its image/sound synchronism abot 20 minutes after the film starts, and never recovers it. Unwatchable. To avoid. Miguel Marías

At Rio Galdez's remote Brazilian trading post live assorted outcast Americans and Europeans, including Jerry Russell, ex-engineer (Richard Denning), who became obsessed with the Jivaro headhunters' treasure, quits his job, ends up a drunk, dilly-dallies with local girl Maroa ( Rita Moreno), but still has dreams to get that treasure.

And he still gets letters from his nominal fiancée (Rhonda Fleming) in California, and unexpectedly the shapely, glamorous Alice Parker arrives, expecting to marry a rich planter. Rio (Fernandez Lamas), a jungle guide and bar proprietor, restrains from telling her that he's not a rich planter, but is a drunk and has gone into treacherous territory of the headhunters to find gold ...

Disillusioned, Alice is almost ready to fall into Rio's arms when news comes that Jerry is missing in Jivaro country. She feels obliged to join the group to head there, and bad guy Tony (Brian Keith) is keen to come along and naturally causes trouble when he wants the gold ...

Jivaro is a colourful adventure yarn, however the adventure comes in the last thirty minutes where the group headed by the charismatic Fernando Lamas heads into the land of the headshrinkers and you get rope collapsing, bodies with arrows strewn along the foliage of the jungle and one of them is quite gruesome as he hangs on the vines, an arrow through him. There's some nice action, but the first hour is quite solid with character depth, a nice buildup of the romance between Lamas and Fleming - plus there's slimy villainy from Brian Keith who has designs on Fleming, and then the gold. There's an energy through out the plot, the dialogue is engaging and it's good fun throughout.

Adventure n. 1 an unusual, exciting, and daring experience. 2 excitement arising from danger or risk.

While you could argue that Alice Parker's (Rhonda Fleming) initial journey to the Amazon trading outpost to reach her fiance meets the above requirements for an adventure, that part of her story isn't shown on screen. In fact, the only real adventure here takes place in the final twenty-five minutes. But what a glorious twenty-five minutes! A rope bridge over a raging river, dense jungle foliage with all the layering you could dream of, windswept ruins, hostile natives shooting flaming arrows at the camera: it's exactly what I wanted when I first heard about Jivaro.

The preceding hour-and-a-bit, quite frankly, isn't what was advertised. In fact, it's dramatically quite anaemic. The superbly underplayed romance between Alice and Rio (Fernando Lamas) would be perfect as a secondary plot element if the main story-her quest to find her fiance-had any weight. But it rarely does. And the conflict, provided by lascivious prospector Brian Keith, peaks during a bruising fist-fight but then gets swept up in the final expedition and promptly loses its steam.

As with several of these Golden Age 3-D films, I had to watch Jivaro twice, the first time for what it wasn't, the second time for what it was. On second viewing, I surrendered to the leisurely pace and found I could luxuriate in the sumptuous stereography, colourful production, fine acting, and the imaginative evocation of this Amazon setting on the studio backlot. You could say I jived with Jivaro and became a fan. Plus, I just love the 1950's Technicolor feel.

The 3-D is wonderful throughout. You're always conscious of it but never distracted by it, apart from the flying arrows and such near the end. It reminded me of the intuitive, naturalistic 3-D in Miss Sadie Thompson, which was strong without being ostentatious. The layering of dripping water in Alice's room when the rainstorm hits is one of my favourite effects: it's gritty and dream-like at the same time, and absolutely puts you inside the room with her. The sheeting rain outside is also great, as is the smoke in the saloon. There are several instances of characters jumping into the frame from negative space-remember Igor in House of Wax-and they work every time.

The film fulfils its 3-D action-adventure potential and then some as it reaches the finale, first with the rope bridge sequence and then, one of my favourites of any Golden Age 3-D blu-ray, the Valley of the Winds sequence. It's so exotic and striking and dangerous-looking, it kicks the film up several gears. Combined with the sound effects and some clever stereo touches-raging water, a swaying corpse, the positioning of the actors-it's transportive in all the ways I want a movie adventure to be.

1953's "Jivaro" was shot in color and Widescreen 3-D on location in Brazil as "Lost Treasure of the Amazon" or "Valley of the Winds," produced by the Pine-Thomas unit at Paramount, remembered for their frugality as 'The Two Dollar Bills.' Fernando Lamas toplines as Rio Galdez, a tradesman and bar owner dealing in the upper reaches of the Amazon while discouraging talk of vast riches deep in Jivaro country, the land of headhunters, as a shrine to their victory over the Spaniards. Into this heated background comes Rhonda Fleming as Alice Parker, expecting to wed her long absent fiancee after two years of waiting in California, instantly an object of desire for fortune hunting Tony (Brian Keith), who also covets the hidden treasure. 3-D thrills are plentiful, enough to offset the expected love triangle, with spears, arrows, and other objects hurled at the camera, saving the dangerous trek through the jungle for the final third (the 'Valley of the Winds' certainly earns its nickname). Apart from the handsome leads, supporting cast members are only on screen a short time, including Richard Denning as Alice's doomed beau, Marvin Miller in brown makeup as a native chief, and Lon Chaney as trader Pedro Martines, around just long enough for some good natured sparring with Rio over a worthless crate filled with rocks. This was easily the least of Chaney's films for Pine-Thomas, previously doing major villains opposite Randolph Scott in "Albuquerque" and John Payne in "Captain China."

A pure little jewell from Paramount Studios which it was the speciality, adventure, exotic, colourful yarns full of action, romance, that were never boring. Edward Ludwig and Lewis Foster were the more iconic directors, and Rhonda Fleming, Arlele Dahl or Yvonne De Carlo- though the latest was more involved with Universal Pictures - the usual lead females. The charm contained in those films is now totally lost, that's the reason I will never get tired of watching them. Nothing special to say about this one, except it's one of the best of Edward Ludwig. If you don't know anything about this period, in the fifties, try this one to begin, you won't be deceived.