Those who look at movies of the 1930's and 40's as horrifying examples of racist un- politically correct cinema are trying to remove the fun that these often innocent stories are trying to tell. Nobody is pretending that these characters are representative of what Pacific Islanders were like, ever, and you have to go into these with a grain of sand. Add on Technicolor queen Maria Montez, scantily clad Jon Hall and the over enthusiastic Sabu, and the recipe is there for a colorful adventure that takes ridiculous situations and makes them twice as silly with over the top performances and outlandish dialog.Montez is a tropical island queen who falls in love with white shark hunter Jon Hall, dealing also with hidden gold and the very sinister Thomas Gomez and a jealous suitor (Turhan Bey). For Charlie Chan like wisdom, there's Sidney Toler spouting words of wisdom, making you wonder if he's in cahoots with Gomez or on the side of the good guys. With constant damp hair, muscular chest exposed and the enthusiasm of innocent youth, Sabu is adorable. The color photography, campy atmosphere and overall sweetness of many of its characters (Montez's heavyset handmaiden, who ironically is also Sabu's mother pretending to be queen) makes this an above average time filler. Of course, there's the obligatory dance number, and if you look very carefully, you'll see a very young and sexy James Mitchell in dark make-up as one of the dancers, long before he danced on Broadway and was "Oklahoma's" dream Curly (and years before he became the nefarious Palmer Cortlandt on "All My Children"). This might not be in the same league as "Cobra Woman", but it's awfully close.

Superficially Universal's film is another entry in the cycle showcasing the limited acting but ample bodily talents of Maria Montez, supported by the equally statuesque Jon Hall. Neither of them have to do do much except look good in a series of exotic costumes, while Hall gets at least two opportunities to get his kit off and swim underwater, on the last occasion to rescue Orano (Sabu) who is at risk of drowning. The Technicolor sets are opulent - by R. A. Gausman and I. Webb - and director Arthur Lubin shows sufficient understanding of his audience's wants to allow the interaction to be interrupted for an exotic dance with plenty of fleshy bodies on display.Yet despite its routine formula WHITE SAVAGE manages to make some significant political points. It asks us to reflect on Hall's behavior as a white settler in a native village, and to consider whether he learns the importance of racial integration, or whether he simply approaches life there on his own terms. Lubin does not offer any concrete answer, but contrasts Hall's generally amenable nature with arch-colonist Sam Miller (Thomas Gomez), who wants to possess the Princess (Montex) for himself and take all the spoils as well.The lure of filthy lucre is compelling. The Princess's brother Tamara (Turhan Bey) has sacrificed his native integrity for gambling, and is so in debt to Miller that he cannot save himself. Caught in a racial limbo between capitalism and tradition, he cuts a pathetic figure with his open floral neck shirt, his generally woebegone manner and his tendency to drown his sorrows in tobacco and alcohol. In the end he is knifed to death: we might feel that this comes as something of a welcome release for a man who eagerly sought the false rewards of capitalism and suffered thereby. It is significant that the role should have been essayed by Turhan Bey, an Austrian-born Turkish actor who made a habit of playing racially and ethnically complicated parts at this time.The film ends with a spectacular set-destruction, as the colonists finally overreach themselves and incur the wrath of the pagan god, proving beyond doubt the ineffectiveness of human interactions with the universal. Hall and Montez end up getting married and having a baby - the perfect example, it would seem, of a racially mixed marriage. Or perhaps not, as this is a Hollywood fantasy.

While so doing makes me feel an utter heel I really have no alternative but to dissent from Mr Theakston's enthusiastic review of this movie .It struck me as banal and downright racist in many ways .Maria Montez , a statuesque Latino ,is improbably cast as a South Sea islands Princess who rules over Temple Island .The floor of the temple is submerged and it contains a number of solid gold bricks .The significance of this is lost on the inhabitants of the island but not on the villainous Sam Miller (Thomas Gomez-giving the only halfway decent performance in the movie).He resolves that when the time is ripe he will seize the gold and marry the Princess too.He is not above murdering any who get in his way and he ensures the Princess' brother (Turhan Bey)is in his debt by cheating him at cards thus making sure the young man is perpetually in hock to him Enter the dashing Kahoe (Jon Hall) a shark hunter needing her permission to set up operations near Temple Island .He works out Miller's schemes and hindered rather than helped by sidekick Orano(Sabu) and the local factotum,part lawyer ,part policeman Dr Wong(Sidney Toler in Charlie Chan mode) sets out to thwart his plans and win the hand of the Princess The acting is generally woeful and the script trite .the ending is lively enough and there is some fun to be had at its sheer awfulness Some may revel in camp and I am capable of doing so but only when it is good camp -say The Doctor Phibes movies -but witless trash is not my scene .this is a waste of time

WHITE SAVAGE (1943) was one of first three Universal Picture Technicolor productions when they acquired their contract with the company (the other two being "Phantom of the Opera" and "Arabian Nights", and it shows in every respect.I was fortunate enough to catch White Savage on the big screen a few months back and was thoroughly impressed with the acting, script, and most of all, the beautiful set design and lavish Technicolor photography. The added sex appeal of Maria Montez does not hurt, either.Again, like in "Arabian Nights", Montez is teamed up with Jon Hall as Kaloe, a shark hunter who is after Vitamin A to sell. Unfortunately, he is unable to fish around Temple Island, where all of the sharks seem to be. He meets a rascally friend named Orano (Sabu) who, through connections, gets him to meet the Princess (Montez). Needless to say, after some mishaps, the two fall in love. Also in the picture is Princess Tahia's brother (played by Turhan Bey) who is a gambler and loses to Miller (Thomas Gomez), who is after the treasure hidden in the palace pool.The cast here, like most of the Universal Technicolor productions, is an all star one. Montez, Hall, Sabu and Bey end up all being Univeral-Tech favorites, and show up in almost all of the films. Also a rare treat is the added distinction of Sidney Toler in his Charlie Chan make-up, in an obviously similar role of a detective/lawyer/banker/et al. Thomas Gomez and Don Terry also round up the cast.The photography is constantly colorful. There is not one scene in the film where there isn't a splash of blue, red or green somewhere in the picture. Direction by Arthur Lubin is adequate, while the script by Richard Brooks never slows down when it shouldn't.Unfortunately, White Savage (1943) is not available on tape or disk, and due to the fact that Universal's commercial catalog lists the title as "black and white" by mishap (a simple error they have yet to corrected), most television stations will not play it. Even AMC, with a recent line-up of all the Montez titles, left this gem out of the package.I would strongly urge anyone at Universal or with any influence to investigate this film. It's quite an adventure, and is sure to attract audiences.I give it 8 or 9 out of 10. Not perfect, but at a little over an hour, time well spent.