The Southern Star

The only reason I watched this dross was because I saw the magic name "Orson Welles" in the list of actors appearing (of which more below). To start on a (the only really!) bright note, the footage of wildlife is very good indeed (although it feels as if this was taken from elsewhere and when the actors are anywhere near real wildlife (apart from the tame ostrich), it consists of dummies/props (Segal and the plastic "crocodile" in the river and Andress swimming quietly past a wallowing herd of hippos at a distance of a few feet in a river (fat chance, she would have been dead in about two minutes, killed by what are actually THE most dangerous animals in the whole of Africa - forget lions and cheetahs!) Apart from the quality of the photography, the NUMBER of animals in each shot is also very impressive; massive herds of hippos, elephants, prides of lions, herd of ostriches etc. I fear this shows how much wildlife has been lost between when the film was made (1969) and now (2020), as nature programmes never seem to show most animals in those numbers these days! To move on to the human actors; these are largely as are to be expected. I always expect VERY little indeed from George Segal (who must have been one of THE luckiest actors of his time, with everything resting on his photogenic looks), Ursula Andress (eye candy embodied) and Ian Hendry (ALWAYS playing every role in precisely the same way). A disappointment was Harry Andrews. I usually find him a magnetic actor to watch and one who, no matter who the lead star is, seems capable of stealing every scene he appears in. In this case, however, he goes WAY OVER THE TOP and his booming, laughing, lecherous, somewhat sadistic interpretation just did not work for me. Which brings us to the figure of Welles; absolutely huge/grossly obese at this time (as in "A Ferry to Hong Kong", made shortly before) and obviously just "winging it" in terms of putting any life at all into his part (even though this is admittedly very slim and he does not even appear until about half way through the movie). I felt really sad at seeing him having to take parts in such dross as this, particularly remembering that this was only a few years after two of the (in my view) finest films he ever made: "Chimes at Midnight" (which virtually everyone must agree is a masterpiece) and "The Trial" (which some people (e.g. Charles Higham) certainly do not regard as a masterpiece but which I do in terms of style and cinematic finesse). As Charlton Heston (who starred in another of Welles' undoubted masterpieces, "Touch of Evil") once said in an interview, instead of wasting his enormous talents on dross like this, Welles should have focused on finding a patron or sponsor who admired his work (although being Welles, of course, he would probably never have accepted his position in such a relationship for long in any case!) A very final thing I found abysmal: the MUSIC/soundtrack is beyond horrendous -cheap muzzak, recorded at ear-splitting levels for much of the film and thrown in at what mostly seemed totally inappropriate moments! Overall. a REAL turkey and one I am guaranteed never to waste two hours watching again in my life (even with Welles in it)!

'The Southern Star' is a cracking Adventure Caper based on a Jules Verne novel, It's set in the beautifully widescreen photographed plains of Africa Circa 1900. The title refers to a massive Diamond discovered by George Segal in a river bed,It is taken from Segal by pompous Kramer Harry Andrews, It is later snacthed by appealing African actor Johnny Sekka, with Segal's love interest and Kramer's daughter (the ravishing Ursula Andress) in tow the pair go off in search of the elusive stone, Ian Hendry is the pursuing former lover of Andress intent on claiming the stone, George Segal was at the fledgling height of his popularity here as ever he is always watchable what ever role he is cast in. Check out the 'revealing' river bathing scene with Ursula Andress it goes to show why she will always be remembered as the consummate Bond girl. Orson Welles has a small role as an over the top Gay/Camp Sgt Major. All in all 'The Southern Stone' is a great picture. i'm glad that it's finally available on DVD the quality is great.

Say Jules Verne and one has memories of cannons shooting men to the moon, or a mad sea captain destroying British ships with his personal submarine, or a proper Englishman betting 20,000 lbs (half his fortune) that he can get around the world in 80 days. And the movies have been kind to Verne's best known films: George Melies immortalized FROM THE EARTH TO THE MOON in an early film. Walt Disney did films on TWENTY THOUSAND LEAGUES UNDER THE SEA and THE CHILDREN OF CAPTAIN GRANT (the latter entitled IN SEARCH OF THE CASTAWAYS). Ray Harryhausen's special effects are one of the treats of MYSTERIOUS ISLAND. Mike Todd produced AROUND THE WORLD IN EIGHTY DAYS. And James Mason did make that JOURNEY TO THE CENTRE OF THE EARTH. What is usually not realized is the lesser known titles that have gotten onto the screen - for Jules Verne wrote nearly 80 novels. MICHAEL STROGOFF was made into a film in Great Britain in the 1930s with Anton Walbrook. FIVE WEEKS IN A BALLOON was made into a comedy adventure (with Sir Cedric Hardwicke and Red Buttons) in the 1960s. A Mexican version of the long forgotten EIGHT HUNDRED LEAGUES OVER THE AMAZON was made in the 1950s. A French version of MATTHIAS SANDORF (Verne's attempt at an updated version of THE COUNT OF MONTE CRISTO) was made starring Louis Jordan in the 1960s. And there was this little film, made in 1969.

What is frequently forgotten about Verne was that he was as preoccupied with politics as scientific developements. He usually was a liberal (one remarkable exception was his anti-Semitism, most markedly shown in his novel OFF ON A COMET - he also was convinced for years that Alfred Dreyfus was a traitor). In a late novel, THE DANUBE PILOT, he looks at the various warring nationalities in the Balkans and Austria Hungary. Another novel, THE SURVIVORS OF THE JONATHAN, dissects the various political philosophies of the day (Verne's hero is an anarchist). In the original THE SOUTHERN STAR Verne was taking a jaundiced eye at his particular bete noir - the British Empire in South Africa. The Boer - British rivalry there are a sounding board for looking at the society of South Africa. But one element is missing from the film. The villain is described as looking like Cecil Rhodes. But the villains in the film don't look like Rhodes.

Yet the film does get the relations of the three groups (native Africans, Boers, British) into some proportion. Ian Hendry is the real villain, having slowly made his way into a position of power over the career of his predecessor (and former patron) Welles, and hoping to take over Harry Andrews economic empire. Hendry romances Andrews niece, Andress, who is in love with Segal. As for Segal, he is friendly with Johnny Secca, who grew up with him. Andrews disapproves of this friendship, and Hendry detests the native Africans anyway. Andrews' diamond works has just produced the world's largest diamond - the "Southern Star". It is stolen and suspicion (fed by Hendry, and swallowed by Andrews) is that Secca stole it. Segal tries to help his friend (who is fleeing). Then Welles returns - he hopes to force Secca to give him the diamond, so he can regain his old position with Andrews.

The film is actually interesting enough to watch to its conclusion (and actually satisfactory even for Welles, as ambiguous a villain here as in some of his own films). It is not a great film by any stretch, but I would recommend seeing it.

Part of the Orson Welles Collection from Mill Creek DVD, this one opens with Dan (George Segal , the boss on "Just Shoot Me") sleeping on a cot, at a diamond mine; the book he was reading says "Geology for Beginners", so clearly he can't be trusted. The workers have found a giant diamond, and Dan arbitrarily decides that it is a genuine, valuable diamond. The beautiful Ursula Andress, famous for the James Bond films, and of course posing in Playboy, is in here. She is Erica, the daughter of the local rich man "Kramer", who has purchased or taken the diamond. Everybody is after the diamond, and wacky hyjinx follow. A hokey bar-room brawl. Ian Hendry seems to be the local deputy, but also seems to be involved in the shenanigans, as well as being Erica's ex. All rather confusing. Lots of old, faded, stock animal footage from old Africa, although it looks like some of the critters might be from Australia. or not. They end all up at the compound of "Plankett", a smaller role for Orson Welles. Good performance from Johnny Sekka.

Much female frontal nudity at the native dance scene. Jules Verne gets writing credit, but apparently it is a rewrite of an earlier novel. Directed by Sidney Hayers, who had worked on some films and whole lot of TV. A good watch... not anything spectacular, but it does have a comical flair to it. With the upbeat music, it's more of a madcap caper than a serious manhunt to the death.

The Southern Star in question is the world's biggest diamond found in 1912 in French West Africa in a mine owned by Kramer (Andrews), whose daughter Erica (Andress) is engaged to Dan (Segal). The diamond is stolen and the chief suspect Matakit (played engagingly by Johnny Sekka), Dan's klepotomanic African friend, takes off. Dan and Erika take off after Matakit and the diamond. Karl, Kramer's security chief (Hendry), takes off after Dan, Erika Matakit and the diamond, hoping to win Erica in the process. To get to his home Matakit must cross territory controlled by Plankett (Welles), Karl's renegade predecessor. We get to see lots and lots of sixties stock footage of African animals, we get to Andress topless, we get to see Welles ham it up. What we don't get is a good film. If you've nothing better to do for two hours on a wet afternoon you could do worse but you really should have something better to do.