Not only is the state of mental exaltation rare, but there are few things that can create this mood; the moments are priceless when one is left intense, immobile by the theme of a book or even the idea of a movie.

In "Lost Horizon" we have a thought vividly presented, artistically developed, and--like all pithy ideas--dropped ingloriously at the completion of a circle in impressive, but essentially trite conclusion. The circle is the story in James Hilton's novel or, in this case, the scenario of Frank Capra's production. The conclusion is a toast to the truth of the author's though by his characters.

As long as the world has been turning, dissatisfied thinkers--philosophers we term them--have envisioned Utopias, Paradise, Fountains of Youth like Hilton's "Shangri-la". The Utopia of the young Englishman is situated obscurely beyond the last bit of civilization amid the white mountains of Tibet. To this impossible place is brought kidnapped Robert Conway, England's Eden-to-be. The High Llama, a French priest who stumbled upon Shangri-la in 1713 and claims to be over 200 years, old, informs Conway that he is to guard like a monk of the Middle Ages the treasures of the world in the face of its inevitable destruction. The religion of the contented inhabitants is moderation--even moderation in virtue. Their motto: "Be kind."

With Conway came others involuntarily--a palcontologist, a consumptive female, a rough public utilities swindler, and Conway's weak worldly brother. All except the last are won over to the Utopia. In the wink of an eye the blonde seems to lose her consumption and her hard shell; similarly, the other two relax into a happy existence. Conway himself sees a dream come true.

All this suggests that Hilton's characters are symbols, that the whole idea is an allegory. Conway may be the intelligent person who arrives through a philosophy of moderation and kindness at carthly happiness. His brother may represent the many who balk at progress, who disbelieve all doctrines that are new or that they cannot understand. The men who drink the toast in the end may be the majority who all have faith in some Utopia but have not yet seen it.

Ronald Colman makes a number of facial expressions for a satisfactory performance. He is well supported by such as Jane Wyatt, John Howard, Edward Everett Horton, excellent photography, and a unique beginning.