The Blue Lagoon is a 1949 British coming-of-age romance and adventure film directed and co-produced by Frank Launder (with Sidney Gilliat) and starring Jean Simmons and Donald Houston.

[10][11][12][13][14][15] After a spectacular fire at the British and Dominions Imperial Studios on 9 February 1936[16] destroyed the last surviving print of the 1923 film, Wilcox lost interest in the project, and the rights were assumed by GFD's new sister company Gainsborough Pictures at the recommendation of Frank Launder, who always admired the novel.

Engagements such as press interviews, radio appearances,[69] visits to various institutions including hospitals, schools, botanical gardens, and zoos, as well as attendance at film premieres, ballet performances, formal dinners, and other public events, filled her schedule[70] until December 21, when she finally departed for the Fiji Islands.

Arriving in San Francisco on March 17 with a bandaged foot after cutting it on a piece of coral on the last day of shooting in Fiji, Jean was warmly welcomed by her long-separated sister Edna.

[82] Collecting clothes sent from England and meeting bigwigs Walter Wanger and Howard Hughes marked her first day at the Beverly Hills Hotel, followed by a star-studded cocktail party in her honour.

[91][92] According to Kinematograph Weekly, the 'biggest winner' at the box office in 1949 Britain was The Third Man with "runners up" being Johnny Belinda, The Secret Life of Walter Mitty, The Paleface, Scott of the Antarctic, The Blue Lagoon, Maytime in Mayfair, Easter Parade, Red River, and You Can't Sleep Here.

[93] The film generated producer's receipts amounting to £186,500 within the United Kingdom and £164,900 in overseas markets,[1] ultimately yielding a profit of £40,300 by 24 December 1949[94] primarily driven by its international earnings.

[95] Writing for the Spectator, Virginia Graham praised the film by deftly navigating the potential pitfalls of a South Seas romance, anticipating a clichéd spectacle of tropical excess but finding instead a charming narrative.

[96] Writing for the New Statesman, William Whitebait offered a disparaging perspective, likening the arrival of popular novels and plays to the screen to the unanticipated appearance of a heavily advertised product on a store shelf.

He stated, "Best-sellers from the circulating library and the stage have an awful way of looming up on the screen like some toothpaste or pickle which, threatening for years from advertisements, at last, confronts us as the only brand on the counter."

While praising Noel Purcell's excellent portrayal of the sailor and the standout performance of Cyril Cusack as a trader, it found the lead actors, Jean Simmons and Donald Houston, competent but not outstanding.

[105] Lesley Morris of The Advocate criticized the movie for its childish and dull plot, stating that despite its visually stunning scenes and beautiful locations, extensive publicity, and efforts such as shooting in Fiji, the film couldn't escape failure, hinting at mismanagement of resources and indirectly holding J. Arthur Rank accountable for the flawed execution.

[107] The Sydney Sunday Herald appreciated the film's visual depiction of adolescent reading material and romantic entertainment value, noticing its lack of novelty but noting its commercial success.

The review succinctly covered dramatic moments, character development, and production insights, all the while applauding the film's romantic and adventurous spirit, standout performances, and directorial prowess.

[111] The China Mail's review praised the film for its captivating portrayal of two characters stranded on a Pacific island, commending the expert colour photography, vibrant visuals, and sincere performances while acknowledging minor pacing issues and deeming it likely to appeal to a broad audience appreciating its engaging narrative and unusual climax.

[112] The Hong Kong Telegraph lauded the movie as a genuine escape, with the picturesque setting of Jean Simmons and Donald Houston as castaways, featuring real footage of a hurricane in Fiji, and delivering refreshing entertainment through their enjoyable performances, particularly Noel Purcell's effective portrayal of the sailor landing with them on the island as children.

Overall, it presented a scathing assessment of a film that failed to capture the essence of the novel and fell short of delivering a compelling cinematic experience, with its visual aesthetics standing as the only redeeming quality.

The film was commended for its visual appeal, with particular praise for the exciting quality of the early scenes featuring the shipwreck and the marooned children, likened to The Swiss Family Robinson.

Manzie noted that The Blue Lagoon stood out among island-themed films of the time, positioning it as the only one deemed acceptable, especially when compared to others featuring Dorothy Lamour and Jon Hall.

Despite a noted shift in tone as the characters grew up, the review concluded that The Blue Lagoon provided an agreeable experience as a piece of escapism, successfully offering a visually pleasing and immersive break from reality.

The reviewer, in a whimsical tone, celebrated the movie's ability to fulfil the universal fantasy of a tropical island shipwreck and the allure of a Robinson Crusoe-like existence, especially with a romantic interest in the opposite sex.

Applauding the use of Technicolor and the superb scenery that heightened the cinematic experience, the review highlighted the exquisite portrayal of the character's growth by Jean Simmons and the fitting depiction of the hero by Donald Houston, who was appropriately described as "browned and muscular."

Despite acknowledging a lack of narrative coherence, the reviewer maintained an optimistic stance, asserting that the film's overall fascination, beauty, and romantic charm would contribute to audience enjoyment, making The Blue Lagoon a compelling cinematic venture.

[120] Helen Hendricks of Screenland appreciated the film's adventurous plot and the convincing transformation of the protagonists from children to adults, played by Donald Houston and Jean Simmons.

[121] Paul Jones of The Atlanta Constitution positively reviewed the film, lauding the unique storyline and the vibrant use of Technicolor, and expressed confidence in the cast's capability to deliver compelling performances, particularly highlighting Jean Simmons' previous memorable role in Hamlet.

[123] Pierre Robin of La Cinématographie Française critiqued the film as long and static, though he acknowledged the well-executed dramatic scenes, adequate staging, aesthetically appealing colour palette and locations, and recognized the performances of Susan Stranks, Peter Jones, Jean Simmons, and Donald Houston while deeming Noel Purcell's portrayal of a grumpy sailor as perfect.

[124] M.J. McMahon of the Australian Women’s Weekly had appreciated the film's aesthetic appeal, noting the 'naive charm' and 'lovely' scenery, a result of the location work in Fiji, and the characters' development, from shipwrecked children to mature adults.

Despite an exciting octopus fight and stunning tropical scenes, the film's dull portrayal of castaways' life, acted by Jean Simmons and Donald Houston, was criticised.

"[130] Despite the narrative potential that its source material offered, George Perry wrote in his book The Great British Picture Show that the movie ultimately fell short of expectations and provided a rather underwhelming cinematic experience.

[131] Steven H. Scheuer gave it a two-star rating, suggesting a lukewarm reception, and noted the picturesque scenery but asserted that it failed to compensate for the film's narrative weaknesses.