Vidor's vitality seems ageless, and his plastic force is especially appropriate for partings and reunions, and the visual opposition of individuals to masses, both social and physical.
--Andrew Sarris
Joel McCrae plays Johnny, part of a wealthy group cruising around the Pacific; Dolores del Rio plays Luana, a native girl pledged to the prince of her island group. Johnny and Luana do not share a spoken language but succeed in communicating their desire for each other, running off together to live and love on another island. Until, that is, the volcano calls for a sacrifice and the natives find Luana and Johnny and prepare to sacrifice them. Until, that is, Johnny's shipmates return and rescue the two lovers and take them to their ship. Johnny wants to take Luana home but when the natives come for her she believes that unless she agrees to be sacrificed she and Johnny will both die. The wounded Johnny needs water but Luana feels water in the sink and sees a water cooler but does not know how to use it, so before she leaves for the volcano she bites into fruit and transfers the juice to Johnny's mouth.
Bird of Paradise is a movie that transcends its absurd plot and its imperialist theme and works as a moving fantasy of love between two very different people, both of whom are willing to make sacrifices so they can stay together, at least for a little while: Johnny's world consists of guns, alcohol and outboard motors, while Luana's is one of arranged marriage and human sacrifice. It is no wonder that they want to establish their own world of privacy and sensuality, allowed in this pre-code film of 1932, beautifully and intelligently directed by King Vidor, who directed many innovative and visually impressive films from 1918 to 1959 (see my posts of July 23 2014, Oct. 30 2014, Feb.28 2016).
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