Disney Plus-Or-Minus: In Search Of The Castaways
In 1962, Hayley Mills was on top of the world. Her first two Disney films, Pollyanna and The Parent Trap, had been huge hits. The latter movie even netted her a hit single, “Let’s Get Together” by the Sherman Brothers. After The Parent Trap, Disney allowed her to return to England to make Whistle Down The Wind, based on a novel by her mother, Mary Hayley Bell. Whistle Down The Wind was another hit and Mills scored a BAFTA nomination for Best British Actress. Stanley Kubrick offered her the title role in Lolita but her father, John Mills, nixed that idea. Walt himself probably also played a part in keeping Hayley out of Kubrick’s film. After all, his contract players were typically kept on a very short leash.
Hayley Mills was by far the most bankable box office star Walt had ever had under contract. Up to this point, his biggest live-action hit had been his 1954 adaption of Jules Verne’s 20,000 Leagues Under The Sea. So it isn’t difficult to piece together how In Search Of The Castaways came about. The combination of Hayley Mills with the spectacle of another Jules Verne fantasy adventure must have seemed like a license to print money.
Robert Stevenson, who had proven himself equally adept with drama (Old Yeller), adventure (Kidnapped) and comedy (The Absent-Minded Professor), was assigned to direct. Lowell Hawley, the screenwriter of Swiss Family Robinson and Babes In Toyland, adapted Verne’s novel, originally titled Captain Grant’s Children.
Associate producer Hugh Attwooll had a somewhat unusual arrangement with Disney. He’d been working in the British film industry since he was a teenager, steadily working his way up through the ranks. His career was briefly interrupted by World War II and he spent a little while in Hollywood, working mostly for RKO, before heading back to England and Pinewood Studios. In 1959, Disney hired him to work on Kidnapped, beginning a long association with the studio. But unlike most other Disney crew members, Attwooll was never under contract. The studio simply liked his work and continued to hire him to as a producer for nearly everything they shot in England. His final credit was 1981’s Condorman, so we’ll be seeing a lot more from Hugh Attwooll.
Walt ran into a couple of small hiccups when it came to casting the film. He wanted Hayley Mills’ younger brother, Jonathan, to play her on-screen brother. Unfortunately, he couldn’t get the time off school and wasn’t able to follow in his sister’s footsteps. The role instead went to Keith Hamshere, who was then appearing on the West End in the musical Oliver!
In Search Of The Castaways ended up being Hamshere’s only big movie role but it was still a formative experience for him. At the time, he was interested in photography as a hobby and spent much of his downtime hanging out with the film’s stills photographer, John Jay. Jay encouraged Hamshere’s passion and gave him lessons. A few years later, Jay hired Hamshere to work as his assistant on 2001: A Space Odyssey (a surprising number of Kubrick connections to this movie). After that, Hamshere had a new career. He went on to become a much-celebrated stills photographer in his own right, working behind-the-scenes on such films as Barry Lyndon, Superman II, and a whole bunch of James Bond movies. He makes a cameo in License To Kill as, what else, a wedding photographer.
Walt also cast Charles Laughton as Lord Glenarvan, the shipping magnate who leads the titular search. But Laughton was forced to drop out of the picture after he was diagnosed with cancer. He died on December 15, 1962, just a few days before In Search Of The Castaways had its American premiere. Laughton was replaced by Wilfrid Hyde-White, the delightful British character actor.
The other two marquee names in the cast were Maurice Chevalier and George Sanders. Chevalier started his career in Parisian music halls before coming to America in the 1920s. He was a huge star in Hollywood throughout the 30s before a contract dispute sent him back to France. He had only recently begun making American films again with a role in Billy Wilder’s Love In The Afternoon in 1957. He followed that up with Gigi, an enormous hit and winner of multiple Oscars including Best Picture. In Search Of The Castaways would be his first collaboration with Disney but not his last. He’ll be back.
So will George Sanders, the great Oscar-winning star of All About Eve. Sanders was one of those rare actors who moved effortlessly between leading roles and supporting character parts. Sanders’ career (and life) had some tumultuous ups and downs but in 1962, he was still doing reasonably well. Two years earlier, he’d played the lead in Village Of The Damned, a low-budget horror movie that seemed to surprise everyone by becoming a sleeper hit. Between Village and Castaways, Sanders appeared in four more films and a few TV episodes, so he was certainly busy.
Our story opens in 1858 Glasgow as Mary and Robert Grant (Mills and Hamshere) along with eccentric Professor Paganel (Chevalier) attempt to crash a bon voyage party hosted by Lord Glenarvan. Mary and Robert’s father vanished without a trace when his ship, one of Glenarvan’s fleet, went down. But Paganel recently found a bottle with a note in it that appears to have been written by Captain Grant. It isn’t entirely legible but Paganel and the kids believe it contains enough clues to be track Grant’s location.
At first, Glenarvan refuses to believe any of it. But his son, John (played by Michael Anderson Jr., the son of director Michael Anderson, who had himself filmed a Jules Verne adaptation, Around The World In 80 Days), started crushing on Mary the second he laid eyes on her. He persuades his father to mount an expedition. After some deliberation, Paganel decides that Grant’s most likely location is South America.
Up to this point, director Robert Stevenson has been setting us up for a relatively straight-forward adventure like Swiss Family Robinson. But once the searchers arrive in South America, Stevenson changes course and steers his ship toward Wackytown. The adventurers spend the night high up on a mountain in an area prone to earthquakes. When the quake hits, their rock shelf splits off, sending them careening down the mountainside and through a spectacular ice cavern on a stone toboggan. At the end of the ride, a giant condor appears and plucks Robert out of the snow, carrying him off to his aerie. Things look grim for Robert until a well-placed shot from a passing Indian, Chief Thalcave (Antonio Cifariello, continuing the tradition of Italians passing for Indians), rescues the lad.
Thalcave says he knows where the castaways are being held prisoner and agrees to lead the group. But before they get there, they decide to camp for the night by an enormous tree in a flood plain (these folks don’t use the best judgment when selecting campsites). Sure enough, a tidal wave floods the area, stranding the adventurers in the tree. Thalcave goes for help. While they’re awaiting rescue, a jaguar arrives to menace the group and a lightning storm threatens to burn down the tree.
They are eventually rescued by Thalcave but when they arrive at the village, it turns out that these aren’t the men they’re looking for. Paganel finally admits he was wrong about South America. They should be looking in Australia, which was where Lord Glenarvan wanted to go in the first place. So this entire trip (and basically the whole first half of the movie) has been a complete waste of time.
Off they go to Australia, where they encounter Thomas Ayerton (Sanders), who also claims to know where Grant’s ship went down off the coast of New Zealand. Turns out that Ayerton is actually a gunrunner. He and his men took over Grant’s ship, setting him adrift, and now intends to do the same thing to Glenarvan and his crew.
Glenarvan and company reach shore where they’re promptly taken prisoner by a tribe of Maori cannibals. They’re thrown into a hut with Bill Gaye (Wilfrid Brambell, best known, depending on where you’re from, as either Steptoe on the long-running British sitcom Steptoe And Son or as Paul McCartney’s Grandfather in A Hard Day’s Night). Bill Gaye was a shipmate of Captain Grant and has been planning to escape and rejoin him. But his plan depends on squeezing through a small window, just big enough for a boy Robert’s size.
They manage to escape the Maori, losing them by hotfooting it across an active volcano. Finally, they find Captain Grant (Jack Gwillim, who will always be Poseidon from Clash Of The Titans to me) dealing with the treacherous Ayerton. With Glenarvan’s ship left relatively unguarded, they recapture the vessel and rescue Captain Grant. All’s well that ends well.
If Walt’s goal was to recapture the magic of 20,000 Leagues Under The Sea, he didn’t quite succeed. This is an unrepentantly goofy and amiable film. It doesn’t have a strong presence like James Mason at its center. The action sequences are treated with all the gravity and realism of a Donald Duck cartoon. The songs by the Sherman Brothers are silly little tunes with little to no bearing on what’s actually happening on screen. But if you can get on the movie’s wavelength, it offers some minor pleasures.
The cast certainly appears to be having a good time. Chevalier and Hyde-White are both a lot of fun, reacting to various life-or-death perils as if they’re minor inconveniences. Hayley Mills continues to be a charming screen presence. If she fails to generate many sparks with her romantic lead, that can probably be forgiven considering she was all of 15 or 16 years old at the time. And Keith Hamshere manages to avoid the Kevin Corcoran trap of overly precocious child actors.
The movie’s light touch works against it in some ways. It’s hard to become too invested in the search when every character sings a jaunty song in the face of mortal danger. And the midway revelation that they’ve been looking in the wrong place elicits groans more than anything else. It’s easy for the audience to check out at this point. If nothing we’ve seen so far has actually mattered, why should we expect that to change in the second half?
The film also borrows liberally from other Disney films. The search for castaways feels like it could be the flip side to Swiss Family Robinson. The oversized bird that captures Robert feels like an attempt to outdo some of the giant creatures from 20,000 Leagues. And the third act appearance of Bill Gaye brings to mind Treasure Island’s Ben Gunn, another long-haired, half-crazed sailor. They even have the same initials. But despite the film’s many flaws, it’s a hard movie to dislike. It coasts by on charm and spectacle, even as you find yourself rolling your eyes at some of its more unbelievable aspects.
In Search Of The Castaways was Disney’s big Christmas release for 1962. Critics weren’t exactly rapturous in their praise but most admitted that it was harmless fun, if nothing else. Audiences, on the other hand, seemed to love it. It became one of the highest-grossing films of the year in both the US and the UK. Hayley Mills’ winning streak wasn’t over yet. Neither was Robert Stevenson’s. He’ll be back in this column almost immediately.
VERDICT: I had enough fun with it to make it a minor Disney Plus.