User Reviews

If you watch "Elephant Boy", I strongly recommend you use the closed captions along with the movie. This is because it's Sabu's first movie and his command of English isn't great and his accent quite thick. With the captions, this shouldn't be a major problem.

The story is based on a Kipling tale and is set in India. Toomai (Sabu) is the son of a mahoot--an elephant driver. And, Toomai looks to follow in his family's footsteps and become a mahoot just like his many ancestors. When a white hunter arrives, Toomai's father and his elephant join in the expedition...and Toomai, though only about 12, is allowed to come along with them. This film is about the many things that occur during this hunt...things that force Toomai to grow up very quickly.

While this is a decent film, it also is a product of its times. Paternalistic, presenting the British control of India is rather idealized terms as well as a few natives who are just Brits in dark makeup! My attitude is DON'T toss the film in the trash bin but just learn from it and understand its shortcomings. Sure, it's not exactly realistic but also represents Sabu's first film...a film which would end up changing his life radically.

So is this a great film? No. At times, it seems rather plotless and meandering. There also were a few scenes which shocked me, as you could NEVER make scenes like it today...such as the elephant walking around the baby!! Worth seeing and better than a typical jungle picture of the day--with animals from all parts of the globe stuck haphazardly into the film because they films were made on the cheap. "Elephant Boy" is no cheapo jungle flick and only offers a few ill-placed bits of stock film (such as occasionally showing African instead of Asian elephants).

It is quite clear from the beginning that we have to be understanding about Sabu's acting ability in this his first film.He undertakes the opening narration in a very stilted form.It is quite apparent that he is reading off of boards placed behind the camera.The scenes in India are very well photographed in black and white and the music is quite captivating.the dramatic scenes though are often rather awkward.Not just because of Sabu.the scenes of him with the white trappers are very redolent of the Empire,upon whom the sun never set.Korda did rather have an obsession about this.Bearing in mind that he had previously made Sanders of The River and was about to embark upon "The Drum" and of course "The Four Feathers".Sabu would shortly become a much more skilled performer.

In India, an elephant boy (Sabu) wants to become a great man like his father and helps a British colonial conservationist (Walter Hudd) find and herd elephants.

A film project that began with producer Alexander Korda sending the great documentary filmmaker Robert J. Flaherty to the Mysore region of India to film for an Empire project. The result was 55 hours of geographic documentary footage, but no discernible narrative. Zoltan Korda took over, brought the production back to England and filmed a narrative around Rudyard Kipling's story, 'Toomei of the Elephants'. Much of Flaherty's footage is used in the film, but incongruously also sits beside some poor obvious fake elephant feet as in the 'Dance of the elephants' sequence. Nevertheless, both as a docudrama and a narrative film it comes off surprisingly well. One of Flaherty's other contributions was the discovery of Sabu who became a star after this film.

I didn't like this movie at all Too much of the "hysterical elephant goes berserk" routine,and the horrid racket to go with it Sabu as the earnest,young Hindu boy was at best,cloyingly maudlin. The patronizing British Head Honcho was also a bit too much to take. I'm not even sure a child would like it.The pathetic elephant screams might be a bit scary. Parental Guidance Recommended (by me at least)

A young ELEPHANT BOY dreams of becoming a hunter like his father, grandfather & great-grandfather.

Rudyard Kipling's short story Toomai of the Elephants comes to life in this exciting little movie from Sir Alexander Korda's London Films. The original material has been embroidered upon, but the changes from Kipling, who had died in 1936, actually give the slight tale more punch without destroying its integrity. Location shooting, personally granted by the Maharaja of Mysore on his private lands, gives a veracity to the film which no studio back lot could equal.

In the title role, young Sabu is utterly natural & authentic in his film debut. As equally at home in front of the lens as he is on the back of Kala Nag, the wise old elephant, Sabu is never anything less than completely convincing, whether he's scurrying up trees, bathing his pachyderm, or showing complete confidence in interacting around scores of the great beasts.

Walter Hudd is persuasive as Petersen sahib, the hunter sent to round-up elephants for the Government. Allan Jeayes shows authority as Machua Appa, the elderly head tracker. Genial Wilfred Hyde-White, one of Britain's finest character actors, has a single scene as the local commissioner.

The sequences dealing with the elephant herds, the lives of the mahouts, and the building of the stockade are all fascinating and give an almost documentary quality to the film at times.

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Born Sabu Dastagir in 1924, Sabu was employed in the Maharaja of Mysore's stables when he was discovered by Korda's company and set before the cameras. His first four films (ELEPHANT BOY-1937, THE DRUM-1938, THE THIEF OF BAGDAD-1940, JUNGLE BOOK-1942) were his best and he found himself working out of Hollywood when they were completed. After distinguished military service in World War II he resumed his film career, but he became endlessly confined for years playing ethnic roles in undistinguished minor films, BLACK NARCISSUS (1947) being the one great exception. His final movie, Walt Disney's A TIGER WALKS (1964) was an improvement, but it was too late. Sabu had died of a heart attack in late 1963, only 39 years of age.

In his first film, young Sabu introduces himself as "Toomai of the Elephants" before leading an expedition to find a herd of elephants in the jungles of India. Though this is based on an adventure story by Rudyard Kipling, it runs more like a documentary. There is much time spent on filming Sabu cavorting with his elephant "Kala Nag" and others. Sabu relies on acting natural and hasn't perfected his English; people found him highly appealing, but he's sometimes more of a liability, herein. Sabu and the Korda productions got better. "Elephant Boy" is for viewers who really, really like Sabu and/or a lot of elephants on screen.

**** Elephant Boy (4/5/37) Robert Flaherty ~ Sabu, Walter Hudd, Allan Jeayes, W.E. Holloway

Wonderful little film adapted from Rudyard Kipling's story Toomai of the Elephants. Kipling's work always makes fine films, even if his British colonialism makes it somewhat dated. This particular film features an unpleasant master-servant relationship between the white man, Petersen (Walter Hudd), and the Indians. But, if you can get past that, and I think most mature people should be able to see the class system in its proper historical light, the movie is very enjoyable. Robert Flaherty discovered Sabu, later to star in such great films as The Thief of Bagdad, The Jungle Book, and Black Narcissus. Sabu is very good, though his English is sometimes difficult to understand. This was Flaherty's only narrative film - I expect that he directed the nature parts of the film and Zoltan Korda directed the actors. The best moments feel just like Flaherty's masterpieces, including a wonderful opening bit (discounting the unnecessary prologue) where Sabu, his elephant, and a monkey echo each other's movements as they all wake up in the morning. The cinematography is quite beautiful, as is the musical score. 8/10.

Zoltan Korda was the middle of the three great Korda brothers of the cinema, (Alexander the eldest and Vincent the youngest) specializing in outdoor films, like this one (on Kipling's "Toomai of the Elephants") and ten years later the still best film adaptation of "The Jungle Book", both with Sabu as the main character. Robert Flaherty (1884-1951) was an important film documentary pioneer with many classics to his credit, like "Nanook of the North", the first commercially successful film documentary (1922) which he directed and produced. With Zoltan Kodaly, he was co-director of this film, probably the best elephant film ever made, which still impresses by its unequaled elephant scenes, including a great score by John Greenwood.

Sabu Dastagir was a boy of ten when he was discovered by documentarian Robert Flaherty while in India filming April 1937's "The Elephant Boy." Sabu, an orphan in the little town of Mysore in British India, had absolutely no experience in acting, but he sure could ride an elephant. Sabu's father, a widow, was an elephant driver (a mahout), who taught his son all there was to know about riding at the royal elephant stables. When his dad died, Sabu, 9, was taken in by the stable owners as a ward. Flaherty and his scouting crew came upon the young boy at the stables, whose engaging personality and handsome looks made him a logical choice for the lead in the movie.

Flaherty was busy shooting 'B-Roll' for over a year filming elephants in their natural habitat in India when the producer and owner of London Films, Alexander Korda, sent his brother Zolta down to quicken the pace. Zolta, who himself specialized in directing exotic adventure motion pictures, was bowled over by the young Sabu. He and his brother signed Sabu to a contract. "The Elephant Boy" was adapted from the Rudyard Kipling short story 'Toomai of the Elephants.' Sabu, now 13, and his brother were brought to England to shoot the rest of the movie after the 'B team' finished filming him riding his elephant in India. For the London studio shoot, Korda borrowed elephants from several circuses and zoos in the area. Sabu and his surrounding cast delivered the dramatic story of a boy helping British hunter Peterson (Walter Hudd) round up a number of wild elephants to work in India's construction projects.

Film reviewer Kenneth Godwin praised "The Elephant Boy's" blending of the varying talents involved in the making of the motion picture.

"Sabu's debut film is a surprisingly successful hybrid, combining Flaherty's documentary observation with Zoltan Korda's storytelling to convey a child's eye view of life in Imperial India," notes Godwin. The New York Times film critic Frank Nugent was effusive about Sabu's first screen appearance. "Sabu, the Indian boy, is a sunny-faced, manly little youngster, whose naturalness beneath the camera's scrutiny should bring blushes to the faces of the precocious wonder-children of Hollywood," wrote Nugent. "He's a much better actor than the British players Mr. Flaherty tried to disguise behind frizzed beards and Indian names."

Sabu knew hardly any English when he introduced himself in the movie's long opening monologue of "The Elephant's Boys," and spoke phonetically. Sabu emerged as the first actor from India to have a popular British and Hollywood career.