Cast & Crew
Rosemary De Camp
In India, the daughter of the British magistrate pays a native storyteller to recite what he calls "the story of India:" Deep in the jungle, wildlife rules with an intricate hierarchy. There is Baloo the bear, who teaches jungle law; Bagheera, the wise panther; the wicked crocodile Mugger; and Shere Khan, a killer tiger whose stripes were whipped onto his hide by the jungle trees. There also exists an ongoing struggle between man and nature, village and jungle. One night, the people of a growing village work through the night, hoping to create a great city. Masu places his young son Natu away from the builders, and moments later the baby wanders off into the trees. When Masu runs after him, he is killed by Shere Khan, and the rest of the men are too frightened to enter the jungle. While Natu's mother Messua grieves, a family of wolves, headed by father Akeda and mother Raksha, take Natu in and treat him as one of their own cubs. Twelve years later, the boy, now called Mowgli, is as much a part of the jungle as the rest of the wildlife, with Shere Khan his only enemy. One day, as he is fleeing the tiger, whom he can easily outwit, Mowgli spots the "man-village" and sneaks in to get a closer look at the humans. He burns his hand on the unfamiliar fire, however, and begins barking, prompting the village men to surround him. Realizing that he is feral, the men want to release him, but Buldeo, a superstitious merchant, insists he has the evil eye. Messua, who does not realize he is her son, offers to rear him and leads him to the safety of her home, and Buldeo predicts that the curse of the beast will now rain down on them all. Over the next weeks, Messua teaches Mowgli to speak and instructs him in the ways of her people. When he declares that he wants a "man tooth" to keep him safe from the tiger, Messua sends him to Buldeo's store to buy a knife. There, Buldeo's daughter Mahala shows him a bear rug that her father killed, and Mowgli replies that he knew the bear, who was very old, and that hunters must be very cowardly. Buldeo hears and calls Mowgli an animal, but hoping he will return to the jungle, sells the boy a knife. Outside, Mahala sneaks off with Mowgli to hear the sounds of the jungle, and that night, they are welcomed into the jungle, where the wolf pack surrounds Mowgli joyously, and Hati the elephant warns him that Shere Khan is just returning from a long trip. Mowgli then leads Mahala to a lost empire deep in the jungle, where she falls into a treasure chamber full of precious jewels and gold. The python guarding the treasure terrifies Mahala, and although Mowgli recognizes that it has long lost its venom, he heeds its warning that the jewels hold more death than his fangs ever did. Mahala returns to her home with one piece of gold, which Buldeo finds the next morning. Realizing that only Mowgli can lead him to the lost city, he begins to court the boy, joined by the barber and the pundit, who also see the gold piece. Soon after, Mowgli learns that Shere Khan is near, and returns to the jungle in spite of Messua's pleas. He invokes the rule of the jungle, "we be of one blood, ye and I," to gain advice from the wise python Kaa, who tells Mowgli to lead the tiger into the water. Mowgli then provokes Shere Khan until the tiger leaps into the river with him, and there stabs the beast while under water. Buldeo and his friends have tracked Mowgli to the river, and when Bagheera attacks them, Buldeo believes Mowgli can shape-shift and races home. When Mowgli proudly returns to the village with Shere Khan's hide, he learns that Buldeo has convinced them all that he is a witch, and he is captured and whipped in preparation for his burning. After Mowgli tells Messua that both the jungle and the man pack have cast him out, Buldeo and his cohorts watch as she slips Mowgli a knife to escape. Buldeo's group then trails him into the jungle, where Mowgli intentionally leads them to the lost city. They discover the treasure and load huge piles of gold into sacks, but hearing Mowgli's disembodied voice warning them to flee, they race into the trees and quickly become hopelessly lost. At night, the pundit kills the barber in order to steal the massive ruby sword he has taken from the treasure. Buldeo, who also wants the ruby, then pushes the pundit into the river and watches Mugger eat him. When Mowgli asks his animal friends to gather around Buldeo and frighten him, Buldeo loses his mind, convinced that Mowgli has transformed dozens of times. Although the elephants favor killing the merchant, Mowgli insists on returning him to his village, asserting that only humans kill for sport. Back at the village, Buldeo starts a fire and Mowgli instructs Mahala to lead the villagers to a jungle island where they will be safe. He then gathers the jungle animals into the same lake for protection, and all the creatures watch as the lost city burns to the ground. Messua begs Mowgli to return to the village with her, but he declares that he is of the jungle. Back in the present, the storyteller reveals that he is Buldeo, who never avenged himself. When the magistrate's daughter inquires how he escaped the fire, he replies that that is another story, for another day.
Rosemary De Camp
W. Howard Greene
J. Mcmillan Johnson
Wm. A. Wilmarth
Best Art Direction
Best Special Effects
The Jungle Book (1942)
The story, pieced together from two of Kipling's books, revolves around teenaged Mowgli, who was raised in the jungle by wolves and adopted into human society in an Indian village. When he finds a valuable treasure in the jungle, it sets in motion a web of greed and betrayal. The part was ideal for the biggest star under contract to the Korda brothers, three Hungarian-born filmmakers who had risen to the top of the British motion picture industry in the 1930s with such hits as The Scarlet Pimpernel (1934), Things to Come (1936), and The Four Feathers (1939). In 1937, producer brother Alexander put under contract a real-life elephant driver in India discovered by American film director Robert Flaherty for the lead in Elephant Boy, which was produced by Alexander and directed with Flaherty by brother Zoltan. Although lacking any experience or much command of English, the young teen, billed only by his first name, Sabu, was an instant hit with audiences, and the Kordas cast him in two more films in succession, The Drum [1938, released in the U.S. as Drums] and The Thief of Bagdad (1940). Alexander thought Kipling's tales would be a great way to capitalize on their star's international popularity, but with a war raging in Europe, they came to the U.S. to produce it, armed with a generous $300,000 from United Artists, which would handle distribution.
The Indian jungle and village was recreated under the supervision of art director/production designer Vincent Korda at Lake Sherwood, just outside Los Angeles, and at General Service Studios. Vines, bamboo, elephant grass, taro plants and more were imported to create an authentic South Asian wilderness
The use of live animals (more than 300 collected from zoos and farms) for the jungle beasts proved a bit dangerous, although the most ferocious, a tiger playing the villainous Shere Khan, was filmed in long shots behind an invisible fence. That didn't mean much to Alexander, who was chased onto a rooftop on the set by what he thought was a wild tiger; it turned out to be a large dog wearing tiger skin doubling for the real thing. Zoltan came a little closer to real death when he almost drowned shooting a sequence involving a huge rubber python.
For his acclaimed score, Miklós Rózsa studied Indian music to provide each character with his or her own musical theme. The score was nominated for an Academy Award, along with the art direction, cinematography, and special effects.
Director Zoltan and producer Alexander clashed frequently during production on Jungle Book. Zoltan wanted to make a realistic adventure film along the lines of Elephant Boy, while Alexander kept pushing for a fantasy epic like The Thief of Bagdad. This was the last time the three brothers would work together on a film. Zoltan stayed on in Hollywood to direct the Humphrey Bogart war story Sahara (1943) and the Hemingway-based The Macomber Affair (1947) starring Gregory Peck.
Alexander's next projects found him back in England as producer-director of Perfect Strangers (1945) and the screen version of Oscar Wilde's An Ideal Husband (1947). Brother Vincent was the art director on Alexander's Perfect Strangers but also won acclaim for Carol Reed's The Third Man (1949), David Lean's Summertime (1955), and the war epic The Longest Day (1962).
Jungle Book was the first film for which an original soundtrack recording was released. Previously, film music was re-recorded in the studio by record companies. The records for this film used the same recordings audiences heard on the theatrical soundtrack. The records were a success, paving the way for more original-soundtrack albums.
Director: Zoltan Korda
Producer: Alexander Korda
Screenplay: Laurence Stallings, based on the writing of Rudyard Kipling
Cinematography: Lee Garmes, W. Howard Greene
Editing: William Hornbeck
Production Design: Vincent Korda
Original Music: Miklós Rózsa
Cast: Sabu (Mowgli), Joseph Calleia (Buldeo), John Qualen (The barber), Frank Puglia (The pundit), Rosemary DeCamp (Messua).
by Rob Nixon
The Jungle Book (1942)
Eclipse Series 30: Sabu - THE JUNGLE BOOK & Other Exotic Adventures in ECLIPSE SERIES 30: SABU
Alexander Korda was already the biggest producer in England and perhaps Europe as well; the maker of prestige films practically was the British film industry for a number of years. To interpret the stories of writers Rudyard Kipling and A.E.W. Mason, Korda sent film crews to India and Africa, often with cameraman Osmond Borradaile, who took second position on Jungle Book and The Four Feathers despite filming dazzling Technicolor images under extremely hostile conditions. The location scenes for these films were seamlessly blended with scenes shot back in England, often months later. Eclipse's Series 30 disc set Sabu! rounds up the actor's remaining three Korda pictures, each of which is a special cinematic treat.
Elephant Boy immediately captured hearts and imaginations and even won a Venice film festival best direction prize for its two directors, Zoltáan Korda and ethnographic filmmaker Robert Flaherty. The original story is a chapter from Rudyard Kipling's The Jungle Book, turned into an appealing colonial adventure with elements of both documentary and fantasy. Young Toomai (Sabu) tends his father's elephant, the towering Kala Nag, so well that they're practically a symbiotic pair, bathing together in the river and cooperating to steal melons ripening on the market rooftops. Englishman Petersen (Walter Hudd) is gathering a safari to capture more elephants for construction work. He immediately chooses the impressive Kala Nag, and when he sees Toomai's ease in handling the enormous monster, allows the boy to come on the dangerous trek as well. When the elephant herds prove elusive and tragedy strikes the caravan, jealous handlers declare Kala Nag to be a hazard. Fearing that his elephant companion will be shot, Toomai flees with him into the wilderness. He then stumbles upon a secret gathering place for hundreds of pachyderms, and witnesses their mysterious rituals.
Elephant Boy is enchants audiences from the moment Sabu scrambles atop his beloved friend's enormous head. Kala Nag picks his tiny handler up in his trunk and helps him ascend, and they stroll about with such confidence that the elephant can step over and around a baby without causing alarm (we're alarmed anyway). In footage usually credited to Robert Flaherty, the maker of the semi-documentaries Nanook of the North and Man of Aran, early scenes allow us to watch as Toomai takes Kala Nag to the river for a good wash. Not far away, a mother and calf bathe as well. The baby cavorts in the water so happily that it must have been an animation source inspiration for Walt Disney's Dumbo. We're told that Flaherty made his Korda connection years before, in attempt to sell the mogul on an essentially similar story about a Mexican boy and his bull.
The colonial vision of Elephant Boy posits India as a happy place under English administration, and Petersen is a wise fellow. The Sahib exercises his prerogatives with admirable restraint, never losing his patience despite hardship and squabbles among the handlers. When Toomai absconds with Kala Nag, Petersen blames himself. The script smartly allows the naíve but ethical Toomai to follow his heart and earn an honored position among the handlers, even though he's still just a child. More political minds might see this as a pretty feeble reward, but Elephant Boy makes Toomai's promotion into a great honor.
Adding to the film's charm is Sabu's natural speaking voice. The highly intelligent actor spoke no English but was not dubbed by another: he learned his lines phonetically, a dodge than only makes him sound more authentic. With his bright eyes and beaming smile, Sabu became England's next major star.
A very young Wilfrid Hyde-White (of My Fair Lady) has a role as a colonial administrator. With the use of doubles and matching sets back in England, it's possible that few if any of the Anglo actors even went to India. The film's illusion of continuity is masterful.
The Technicolor production The Drum (released in America as Drums) is a more traditional colonial military adventure from the author of The Four Feathers, A.E..W. Mason. Sabu has top billing in a story of a treacherous breakaway warlord set in the tribal desert of northern India, in what is now Pakistan. The story takes place in the 1920s, and the script by Lajos Biró is clearly meant to bolster English-Indian relations. Cast with star talent and climaxing in an exciting pitched battle, The Drum is also a guaranteed popcorn matinee performer.
The cocky young Prince Azim (Sabu) greets an infantry column headed by Captain Carruthers (Roger Livesey) with a clever trick to see if the English can be easily fooled. Carruthers sees through Azim's charade and the two become fast friends, promising always to be truthful with each other. The British want to secure this corner of the Kingdom against armed incursions from the north, and unknown forces are importing machine guns and training rebels in their use., When his chieftain father is assassinated by his wicked uncle Prince Ghul (Raymond Massey), the honest young Azim finds himself the pawn in a cruel power play. The boy barely escapes alive and must pretend to be a beggar in the nearest city, where he appeals to Carruthers and his wife (Valerie Hobson) for aid. Carruthers has guessed Prince Ghul's strategy, but diplomatic necessity forces him to accept Ghul's invitation to take 50 troops to a dinner at the palace. Azim can't convince Carruthers' superiors of the threat, and risks his life to warn his new friend of the death trap that awaits him -- Prince Ghul has surrounded the pavilion with machine gunners.
The Drum must have been a source of great national pride, as it presents the English Army as a beacon of stability and goodwill in India. Sabu even makes friends with a boastful young drummer-boy (Desmond Tester) who teaches him how to tap out a special recognition signal. Just as with Kipling's Gunga Din, Azim proves his loyalty by warning Carruthers, precipitating an unusually violent shoot-out between a hundred armed men in a confined space. The sinister Ghul (sounds like Ghoul) is not a religious fanatic, and makes a point of suppressing a fundamentalist calling for holy war. Having experienced real war with the Turks at Gallipoli, Ghul believes that he can only win against the colonial armies by creating a rebel alliance and leading the English enemy into a trap. Raymond Massey plays Prince Guhl as a scheming opportunist, hoarding cash for a quick getaway should his dastardly coup not pan out.
Blessed with an amazingly sincere voice, actor Roger Livesey oozes British reserve and honor. Leaving for a reception that he knows to be an ambush, Carruthers tucks a pistol into his tuxedo and tells his wife that doing so is his proper function as a diplomat. Britain's greatest victories are often preceded by the sacrifice of good men to heathen treachery. Valerie Hobson lets her husband walk away with a look of quiet dignity: they both know that if he is killed, her life will be forfeit as well. The controlled emotions of their farewell capture the essence of the British "stiff upper lip".
Just one year later, Sabu's acting is assured, as is his command of English. The actor's intelligence shines through his eyes; he's a genuine original. The only scenes that come off as forced in The Drum occur when Azim makes fast friends with his British counterpart, the cheerful drummer boy Bill Holder. Azim's eagerness to someday don a British uniform of his own seems a possible call for Indian recruitment. Although his films were sometimes controversial with Indian audiences, Sabu was enormously popular in the country of his birth.
Leo Genn and Guy Rolfe are said to have uncredited parts in The Drum. Portly actor Francis L. Sullivan (Night and the City) has a plum role as the local Governor, who won't act on Prince Azim's pleas of calamity without corroboration from his own spies.
For most of the video era Jungle Book has been seen only in inferior transfers, with the result that it is less well known than it deserves. With England and India engulfed in the war, Korda's production of The Thief of Bagdad was relocated to Hollywood in mid-filming, and Jungle Book followed suit. It lacks the authentic feel of the other pictures, yet is in keeping with the fantastic folk tales from the Rudyard Kipling source book. The jungle is a living thing that speaks to Kipling's young hero. The animals remain loyal to their separate species-tribes, yet speak with one another. They have names like Shere Khan, Kaa, and Baloo the bear.
In an interesting touch, the story of Jungle Book is told by its villain, Buldeo the shopkeeper (Joseph Calleia). A generation ago the evil Tiger Shere Khan killed the husband of Messua (Rosemary DeCamp). Her baby disappeared the same day but did not perish; it was instead raised in the wild by wolves. Lean, scarred and unable to speak the human tongue, the feral Mowgli (Sabu) returns to his loving mother but is rejected by the superstitious, mean-spirited Buldeo. Mowgli soon learns to speak, and acquires a "tooth" (a knife) to slay his mortal enemy Shere Khan. Before he does he takes Buldeo's sweet daughter Mahala (Patricia O'Rourke) on a nighttime adventure to witness the magic of the jungle, and view the secrets of a forgotten ancient city. Mahala brings back a single gold coin from a fantastic treasure room. The coin inspires her father and his equally greedy friends the Barber and the Pundit (John Qualen & Frank Puglia) to torture Mowgli for the secret location. Mowgli calls on his friend Bagheera the panther to frighten Buldeo away, but the man only becomes convinced that Mowgli is a shape-shifting witch. When Buldeo threatens to burn Messua on a bonfire, Mowgli has no choice but to allow the bandits to raid the treasure. He knows that the evil riches within will cause the humans to destroy each other.
Yet another masterful Korda production, Jungle Book creates miracles amid wartime shortages. The independent show (released by United Artists) has magnificent exterior sets enhanced and amplified by elaborate matte paintings and other optical effects. The entrance to the fabulous treasure room is through a cracked dome, a design lifted intact for the 1974 Harryhausen film < I>The Golden Voyage of Sinbad. With the exception of some puppet snakes and a mechanical crocodile, the animals are all very alive and active. The filmmakers appear to have used partially hidden cameras, for in many scenes big cats prowl right up to the lens, filling the screen in with curious close-ups. This aspect of the film is very successful.
Jungle Book has charm and humor to spare. No longer the tiny little Elephant Boy, Sabu now has a muscular, lean body that looks convincingly feral. His adjustment to the human village takes amusing turns. When Mowgli finds a bear rug on the floor of Buldeo's house, he remarks, "It's you ... you went missing several weeks ago!" The larger story takes a refreshingly unsentimental attitude toward nature. The great serpent Kaa says that he learned of Shere Khan's whereabouts from a now-deceased jackal, and points his nose to the lump in his body where the animal is being digested. Mowgli knows very well that the humans will betray one another when he leads them to the treasure, just as Buldeo allows his friends to kill each other in order to avoid direct responsibility for their deaths. The movie ends on the side of the jungle, when Mowgli proclaims that corrupt humankind should be shunned. Mowgli surprises us with his final choice.
Binding the film together, Miklós Rózsa's masterful score expresses the wonder and majesty of nature. The music soars when Mowgli gives Mahala a grand tour of the wonders of his jungle home, bringing the matte paintings and the spray-painted palm leaves to life. Jungle Book is still a wondrous movie.
Eclipse's Series 30 DVD of Sabu! is an optimized but not restored set of transfers of movies that are on the verge of slipping into obscurity, despite their former fame. All three look much better than the battered TV prints that circulated for decades on end. Elephant Boy is in the best shape, in crisp B&W with clear audio. The Drum is the weakest, especially at the beginning, which verges on the look of an older film-chain transfer. Both of the Technicolor releases have been mastered from composite negatives with occasional built-in registration flaws. Viewers asking why the films have not been fully rejuvenated, as has been done with titles like The Wizard of Oz need to understand that those laborious photochemical-digital restorations can cost millions of dollars. Few older films have the earning potential to make such efforts practical. Just the same, Jungle Book is a quantum improvement over an older laserdisc I once saw, where the Technicolor image was rendered in a high contrast that erased color values and plunged any un-lit object into inky blackness. Aside from some odd color values and an occasional mis-registered shot, Eclipse's transfer looks very good. Not having seen an original I.B. Tech print of Jungle Book I cannot say if the color and contrast values in the matte paintings are accurate. Some of them look fairly artificial.
Eclipse discs normally have no special extras, but Michael Koresky's liner notes are once again informative and concise. We are told that The Drum played to a mixed reaction in India, where many in the independence movement considered it an insult.
For more information about Eclipse Series 30: Sabu, visit The Criterion Collection. To order Eclipse Series 30: Sabu, go to TCM Shopping.
by Glenn Erickson
Eclipse Series 30: Sabu - THE JUNGLE BOOK & Other Exotic Adventures in ECLIPSE SERIES 30: SABU
TCM Remembers Andre de Toth
Born in Mako, Hungary to the son of a civil engineer, De Toth showed an early artistic bent, having his first exhibit of paintings and sculpture at age 14 and seeing his first play produced at age 18. After obtaining his law degree from the University of Budapest, he began acting, writing and working as a cameraman for cinematographer Istvan Eiben. In 1939, he went to England, where he worked as a second unit director for Alexander Korda on The Thief of Bagdad and other films. De Toth immigrated to Hollywood in the early '40s, and worked with Korda on The Jungle Book (1942) and several other films.
He made his Hollywood directing debut with the 1943 feature, Passport to Suez, a propaganda thriller about the Nazis wanting to bomb the Suez Canal.
Impressed with his ability, Harry Cohn, head of Columbia Pictures, put the director under contract for one film and the result, None Shall Escape (1944), launched his Hollywood career. This tense, sensitive drama about a Nazi officer made to examine his actions was fascinating in its structure: Set after the war's end, the film centers around the trial of a Nazi butcher, Wilhelm Grimm (Alexander Knox), in Poland and makes excellent use of flashbacks illustrating the prosecution's testimony to form the bulk of the film. In a way, the film predicted the Nuremberg Trials after the war.
de Toth earned considerable critical acclaim with the taut, intense noir thriller Pitfall (1948) which he co-wrote. Starring Dick Powell, Lizabeth Scott and Raymond Burr, this story of a bored insurance salesman who embarks on an affair because he feels stifled in his picture-perfect home (a devoted wife, son, nice house, successful career, etc.) was striking as one of the first films to examine the American dream gone sour. De Toth followed that with a shared Oscar nomination with William Bowers for Best Original Motion Picture Story for The Gunfighter (1950), a haunting character study of a killer (Gregory Peck) trying to live down his past.
His biggest commercial hit came with House of Wax (1953), the movie that launched Vincent Price's horror film career and is still regarded as the best of all three-dimensional films to be released during that period. Unlike other directors who seemed to be dabbling with a new technique, De Toth emphasized character and plot over the special effects: Price was a sculptor rebuilding his wax figure collection (destroyed by fire) by making statues out of his murder victims. The one-eyed de Toth was an odd choice to helm a 3-D film as he could not experience the stereoscopic process, having lost an eye in his youth, but he persevered and it was the most successful 3-D film of its day.
De Toth followed that hit with some fine films: Crime Wave (1954), a hostage thriller that boasts some fine performances by Sterling Hayden and Gene Nelson and excellent location shooting on the streets of Los Angeles; The Indian Fighter (1955) an exciting Kirk Douglas vehicle about a wagon master leading his train through rough territory that won accolades for depicting the Native Americans with more depth than contemporary directors; and Day of the Outlaw (1959), the stark, stylish, low budget western about an outlaw (Burl Ives) and his gang taking over taking a small town and matching wits with one of its citizens (Robert Ryan). For many, this film best articulated many of the recurring themes in De Toth's work that would be evaluated only decades later by film scholars: survival, betrayal, the capacity for evil and complexities of human relationships.
In the early sixties film work became increasingly scarce for De Toth and he found himself relegated to directing for television: Maverick, 77 Sunset Strip and The Westerner. Tired of the limitations he was finding in Hollywood, De Toth headed to Europe in the '60s, where he found work as an uncredited consultant and location scout on David Lean's extravagant Lawrence of Arabia (1962). He directed a few films abroad, the best of which was the World War II action film Play Dirty (1968), starring Michael Caine, and then he more or less retired from active filmmaking. It was not until recently that De Toth began to receive critical recognition for his entertaining body of work. The last few years have seen several retrospectives and he enjoyed a renewed popularity at film festivals from Scotland to San Francisco. His contributions to film were recognized with the 1995 life achievement prize by the Los Angeles Film Critics Association and the publication of his autobiography, Fragments: Portraits From the Inside, as well as an interview book, De Toth on De Toth, by Anthony Slide. De Toth was married for a time to Veronica Lake (1944-1952) with whom he had two children. He is survived by his wife, Ann Green.
by Michael T. Toole
TCM Remembers Andre de Toth
Although most sources refer to the film as Jungle Book or The Jungle Book, the title appears onscreen as Rudyard Kipling's Jungle Book. According to a 1938 Hollywood Reporter news item, producer Alexander Korda bought the rights to Kipling's book and planned to shoot the film in 1939. In November 1941, PM's Weekly reported that Korda had been shooting the film for over a year and that director Zoltan Korda had hired four lead animal trainers and one assistant director devoted entirely to overseeing the animals' behavior. A February 1942 Look article describes how the film was shot in forty acres of man-made jungle, using tame animals in close-ups and wild animals in long takes. All of chimpanzees except the lead, Jiggs, were imported from the jungles of India for the production. According to a March 1942 New York Times piece, Korda built his "jungle" from scratch, importing vines, bamboo, elephant grass, taro plants and more and collecting over 300 animals from local zoos and farms. The article also reports that, despite the 150 animal handlers hired, the shots of the panthers were limited to thirty seconds each to avoid danger. In April 1942, after the production wrapped, music director Miklos Rozsa recounted in a Film Music Notes article that he had studied Indian music in order to provide each human and animal character with his own musical theme. Modern sources state that Jungle Book was shot at Lake Sherwood, CA.
Jungle Book received Academy Award nominations in the following categories: Art Direction (Color) for Vincent Korda, Art direction (Interior Decoration) for Julia Heron; Cinematography (Color) for W. Howard Greene; Music (Dramatic or comedy picture) for Miklos Rozsa; Music (Song) for Terry Gilkyson ("The Bare Necessities") and Special effects for Lawrence Butler, photographic effects, and William H. Wilmarth, Sound effects. The picture marked the final collaboration of British brothers Zoltan, Vincent and Alexander Korda. According to a September 1967 Film Daily news item, Comet Films Distributors re-released the film that year. For more information about the Indian star Sabu, who plays "Mowgli," please consult the record for the 1937 Zoltan Korda film Elephant Boy. Many film and television versions of Rudyard Kipling's book have been produced, including a 1967 Disney animated picture titled The Jungle Book, and a 1994 live-action film called The Jungle Book, directed by Stephen Sommers and starring Jason Scott Lee.