** [2 out of 4]
"The Legend of Johnny Lingo" is based on a short story that was also the basis of a famous 1960s 30-minute video that is apparently beloved by many members of the LDS Church, or so some LDS Church members tell me. The video is about a woman who grows more beautiful based on how much her suitor is willing to pay for her.
The Polynesian island tale is a little more complex, as it's expanded to include the childhood of a boy who's washed up onto an island, whom the townsfolk dislike -- except for one girl who falls in love with him.
I was expecting an overly corny film based on what I'd heard about the original "Johnny Lingo" film, but instead encountered a boring one. Nothing in the film is horrible, but nothing excites the young mind (or old mind either).
Unless you like noni juice. The film involves a lot of noni juice, which is apparently a big thing to distribute in certain areas of Salt Lake City. Coincidentally, noni juice distributor Morinda, Inc. agreed to finance the film after an unnamed herb (hmmm...) that's mentioned countless times was changed to noni juice. So if you imagine some ritual herb instead of noni juice, maybe you'll enjoy the film.
In an age of Hollywood remakes, Johnny Lingo may be this end of summer's comeback kid. He is coming to the big screen; mainstreamed into theaters all across America. Created by Hollywood veteran producers Jerry Molen and John Garbett, THE LEGEND OF JOHNNY LINGO is a coming of age Polynesian fable that will enchant children and families alike. Two generations of families have been raised on Johnny Lingo truisms and lessons, mostly due to the success of a short film produced by the BYU motion picture department back in the early 1960's. The film was adapted from a short story written by Patricia McGerr entitled JOHNNY LINGO's EIGHT COW WIFE... Both the film and the short story have been translated into dozens of languages and seen, read or heard by millions of people around the world.
"My family and I had the privilege of living in New Zealand, working on a film eight years ago and fell in love with the country and the Pacific Island peoples that live there," said producer John Garbett. "Ever since then, I have been looking for stories to do there so we could return. Johnny Lingo was an obvious candidate. When I lived in New Zealand, I tested the legend out on Pacific Islanders of diverse ethnicities. I was surprised that all the Islanders know the Johnny Lingo story, and many believe he truly existed as an early trader. Our version of the Johnny Lingo story stays very close to the spirit of Patricia McGerr's story and the stories I heard from the Islanders themselves"
Writing the Screenplay
Garbett's mother-in-law, Claire Whitaker Peterson, was a young mother of five when her uncles Wetzel "Judge" and John "Scott" Whitaker of BYU's Motion Picture Department handed her McGerr's short story and asked her if she could turn it into a screenplay. "The screenplay almost wrote itself," Claire mentioned musefully. "It was such a simple but delightful story, there was very little to change." My husband and I had no money at the time. I remember renting an abandoned storefront window in Provo as an office, where I sat with my typewriter." The script became a twenty seven minute church film that was shot in Hawaii and has since been translated into over a dozen languages and screened all over the world. It has entertained and inspired two generations of Latter Day Saints with its simple but powerful message, that hope and love always prevail if you believe in yourself.
Whitaker has been an informal advisor to the film, but mostly cheering from the sidelines. "When John first broached the idea of doing a feature film of the JOHNNY LINGO story, I thought, now why hasn1t anyone else thought of that. It is a brilliant idea because of the built in audiences Johnny Lingo has enjoyed for forty years all over the world." said Claire Whitaker Peterson. "But people going to the film should not expect the Johnny Lingo of their youth," Whitaker Peterson cautioned. In order for the story to hold up as feature film it had to morph from a dog-eared fable into a full blown legend. And if Garbett has it his way, this will be a legend that will delight audiences enough in theaters, to live on in home video libraries for families of all faiths that want to teach their children about the responsibilities of wealth and the power of kindness and second chances.
After her experience at BYU, Claire Whitaker went on to become a very successful television writer/producer. Writing for shows like The Waltons, Eight is Enough and Falcon Crest. She and her uncles also worked for Disney as writers, producers and animators. They were pioneers of family programming and are a family that continues to love good storytelling. Now retired, Claire is a sharp, funny, attractive grandmother to twenty three, and whose only daughter married producer John Garbett. Until recently, Garbett lived and worked in Los Angeles. Today, he and his wife Kristin live in Salt Lake City with their five children, where Garbett has been working hard to tap into the nostalgia of audiences who grew up with Johnny Lingo, without pigeon-holing the latest adaptations as a Mormon movie.
Not a 'Mormon' Film
"While I understand there is a lot of talk these days about an emerging Mormon film genre, this is not a Mormon film and I do not consider myself a practitioner of any genre," says Garbett. "Jerry Molen and I make films based on the quality of the story. The same way you would not call Schindler's List, another film that Jerry worked on, only a Jewish film or pigeon-hole Stephen Spielberg as a Jewish filmmaker. To call Johnny Lingo a Mormon film is a disservice. It is, in fact, a Polynesian folktale that happens to also be wonderfully cinematic."
When asked why or how Johnny Lingo captivated two generations of Latter Day Saints in particular, Garbett attributes it to the charm of the story and the lessons that Johnny Lingo endured. Garbett also believes that those same truths stand up today, "We made the film because we believe families all over the world will be touched by the simplicity and authenticity of Johnny Lingo's story. I have always loved the literary idea that characters in a story are more than what they seem, and of course, the magic of Johnny Lingo is in the transformation that the characters undergo."
"Because this is a Polynesian story, we wanted to work with a Polynesian writer and Polynesian actors. Steve Ramirez, the director, and my partner Jerry Molen wanted to get inside the culture, not on the outside looking in." Steve Ramirez, makes his directorial debut with this film and says that he felt a great sense of responsibility with bringing such a popular cultural icon to the screen. "Like millions of people the world over, I have known and loved the Johnny Lingo story. THE LEGEND OF JOHNNY LINGO is about the power of love and hope in our lives. When you take a challenge like this as a director, you take it very seriously because the story is so dear to so many people's hearts," says Ramirez. "The experience of bringing the story to the screen also expanded my understanding of it, he continues. While working on location in the Pacific Islands, I saw the bigger picture and realized that Polynesian culture is all about putting other people first;- a great lesson for today's world."
When asked how to explain the initial success and cultural phenomenon of the original Johnny Lingo, Claire Whitaker Peterson gives a similar story, accompanied by a bemused sigh, "You know, I have never been able to explain the success of that film. It was so long ago. But even today, people tell me Johnny Lingo stories from all over the world. They know the lines by heart, sometimes in more than one language! The only thing I can think of is that it was one of the first LDS church films that used 'narrative story' instead of doctrine to teach a message. People responded powerfully and palpably." So much so that high schools wrote Johnny Lingo plays, Sunday schools taught Johnny Lingo lessons, confident co-eds established their own dowry's of self-worth early on in relationships by exclaiming and explaining to their boyfriends, 'You know, I am worth more than an eight cow wife!' "I am quite pleased with what John and his team have created, and quite sure the legend will live on," beamed a proud mother-in-law. "You'll have to go see it yourself!"
And, if the success of these producers other films is any indication, Whitaker's prediction might well come true. Together Ramirez, Garbett and Molen have a track record that includes box office hits like SCHINDLER'S LIST, COCOON, SHREK, and JURRASIC PARK. The production team knows and loves a good story and has adapted other classics that have cult like, generational followings such as CASPER, THE FLINSTONES and HOOK.
Soon audience's nation wide will be let in on the Johnny Lingo Eight Cow secret. John Garbett and veteran producer Jerry Molen are applying the same principles they apply to all the other movies they have made. They are banking on 'the story', hoping it will bring two generations of families and friends of all faiths and fellowships to the box office.
Geralyn White Dreyfous is a founder of the Salt Lake City Film Center. She writes frequently about films and especially loves to feature films with local Utah connections. THE LEGEND OF JOHNNY LINGO opens nationally August 29th. To check theater listings near you or learn more about the making of the film go to www.johnnylingo.com.
Copyright © 2003 by Jeffrey Overstreet.
Reproduction is forbidden without permission of the author.
The Legend of Johnny Lingo is a curious import from New Zealand. It won't play in many theatres, but on home video it may prove a delightful discovery for families tired of the same-ol' same-ol'.
Lingo is a charming folk tale about a boy named Tama who washes up in grand Baby Moses fashion on the beaches of a South Pacific island. Discovered by the tribespeople, the baby is quickly declared a blessing from the gods by their chief. In fact, the chief bumps his son, the heir to the throne, down a notch and hands the future reign right to his new discovery. When Mrs. Chief gets disgruntled, the chief quickly changes his mind and the boy is given a second opinion -- he's suddenly a curse instead of a blessing. Thus, he's shoved away to live with the tribe's infamous, cantankerous drunkard.
The drunkard has a daughter, Mahana, who is teased by the other locals for being plain and unattractive. But as Tama grows up, he develops a liking for her -- there's honor among outcasts. When Tama decides to set out in search of a better fortune, he promises to return and watch over Mahana, since her father won't do it. His voyage lands him on another island, where he is taken into the care of the wealthiest trader in the area -- Johnny Lingo. A sort of training in integrity begins, something that will prepare Tama for his uncertain future, and bring him to that all-important fairy tale ending.
Lingo's central theme relates to our need to find value in the way we are made, the gifts we are given, and the path we are provided, no matter what others think or say. And, as in Shrek, the characters learn to define beauty differently than their vain, superficial, and shallow peers.
Clearly the filmmakers want us to take this as a fable, a folk tale, with simple and clear lessons. As that, it works well enough. I've seen younger viewers caught up in the simple conflicts, cheering for Tama and booing for the bad guys, even surprised by some of the twists.
But it is hard not to think about how much better it could have been with better-trained actors and a cinematographer with a vision for how to capture the beauty, the textures, the personality of the islands. The performances by the Polynesian actors are no better than you might find in a community theatre employing whoever showed up to audition. The actors always sound like they've just been fed their lines. Thus the whole affair comes off as an after-school special filmed in the rainforest.
Jeffrey's Rating:
C |
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PARENTAL NOTE: Safe and entertaining for all ages. |
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"The Legend of Johnny Lingo" is a harmless, sweet interpretation of the famous short story by Patricia McGerr best known as a 1960s filmstrip that circulated heavily throughout the LDS church for decades.
The current big screen adaptation begins when a boat washes ashore on the small Polynesian Island of Malio. Finding in the canoe an infant boy, the villagers consider it a gift from the gods and the chief (Rawi Patanare) quickly pronounces him the future tribal leader. Jealous that her first born son has been passed over, the chief's wife convinces her fellow villagers that the new child, Tama, is the cause of the island's many mishaps.
The chief renounces the boy and he is passed from family to family where he ultimately falls into the care of the village drunk and his feisty, homely daughter Mahana (Fokikovi Soakimi). The two young outcasts eventually bond and the story takes flight when at 12 the young boy leaves the island in search of his destiny, but promises to return to the girl who has become his best friend.
His journey leads Tama (portrayed by Tausani Simei-Barton during his young boy stage) to world trader and successful businessman Johnny Lingo (George Henare) who takes the boy under his wing, and sees him as a diamond in the rough.
Novice director Stephen Ramirez takes little risk with the narrative, and instead weaves a gentle, innocuous family film that won't offend its audience but won't challenge it either. But being inoffensive is not necessarily a virtue unto itself, and soon even the breathtaking island scenery can't rescue "The Legend of Johnny Lingo" from its unimaginative direction and generic acting.
Some may also quibble that the movie veers away from the central theme of the popular filmstrip "Johnny Lingo's Eight Cow Wife." That story depicted the drastic change in Johnny Lingo's wife when she and the other villagers learned that Johnny was willing to pay an outrageous dowry for a woman everyone else thought was ugly and unappealing.
"The Legend of Johnny Lingo" is really more one boy's story of growing up and the effect kindness can have on one's feelings of self-worth. Certainly not an unwelcome message by any measure.
Nevertheless, those who want a similarly-themed film need look no further than "Whale Rider," (still showing in some theaters), just as rich visually and in spirit-and a superior movie in every aspect.
Mad About Movies grade: 2 and 1/2 stars [out of 4]
[This review as accompanied by a "C-" grade when sent to RottenTomatoes.com]
** [2 out of 5 stars]
There's a fine line between folkloric simplicity and plain amateurishness.
Most of the time, The Legend of Johnny Lingo is on the wrong side of that line.
Set circa 1900 on the islands of the South Sea, the film tells a coming-of-age tale based on the short story "Johnny Lingo's Eight Cow Wife," written by Patricia McGerr in 1962. It's the story of Tama, who, as a baby, washes up on an island and is promptly declared heir apparent by the island's chief.
This doesn't sit well with the chief's wife, who had assumed that their son would be the next chief. And since no rational explanation is provided for the chief's impetuous decision, it may not sit well with you, either.
In any case, Mrs. Chief's unrelenting anti-Tama campaign persuades Mr. Chief to disinherit Tama by the time Tama is a young boy.
Tama is passed around the village, eventually finding a place in the dysfunctional household of a broken-down drunk and his ill-tempered daughter, Mahana. Before long, Tama and Mahana become close friends. And when Tama must finally leave the island, he pledges to return one day.
Tama then becomes a sort of apprentice to Johnny Lingo, a rich and famous trader who takes the boy under his wing. But the question remains:
Will Tama keep his pledge to Mahana?
Directed by film-editor-turned-director Steven Ramirez from a script by Polynesian-writer Riwia Brown (Once Were Warriors), The Legend of Johnny Lingo is full of preposterous reversals of fortune and baffling arbitrary actions. Unlike, say, the recent Whale Rider, which has things in it for both adults and children, the new film exists only at the kiddie level, if that.
If the narrative is unsteady, the acting is even shakier.
For the most part, the largely Polynesian cast sounds as if it's reading from cue cards. Tausani Simei-Barton plays the young Tama, Joe Falou plays Tama as a young man, Fokikovi Soakimi plays the young Mahana, Kayte Ferguson plays the older Mahana, and George Henare is the great Johnny Lingo.
Parents may want to know that the film, which opens today, is innocuous enough. And there is some lovely scenery. (It was shot in New Zealand.)
Some people are real suckers for anything that smacks of folklore, so don't be taken in if you hear, say, your next-door neighbor raving about this wonderful, spiritually uplifting movie about a young boy's brave journey to maturity.
Chances are, your next-door neighbor hasn't quite completed that journey himself.
* 1/2 [1.5 stars out of 5]
Its handlers would clearly love for this awful South Seas fable to grab the tail of "Whale Rider," but it shares more stylistic attributes (and cast members) with "The Other Side of Heaven," the crappy Mormon-missionary flick of two years ago. First-time director Steven Ramirez heaps buckets of smarm on the decades-old story of a troubled island boy who learns personal worth at the hands of a wise and legendary trader. Beyond-hackneyed dialogue helps Ramirez convey the (mistaken?) impression that none of his featured players can act. Throw in a dramatic arc that's practically a flat line and you'll know how long 91 minutes can feel.
The Legend Of Johnny Lingo
An Innovation Film Group release of a Morinda, Inc. and Tahitian Noni presentation of a Molen/Garbett production in association with the Stable Moving Image. Produced by John Garbett, Gerald R. Molen. Executive producers, Tim Coddington, Brad Pelo. Directed by Steven Ramirez. Screenplay, Riwia Brown, John Garbett, based on the story "Johnny Lingo's Eight Cow Wife" by Patricia McGerr.
Johnny Lingo - George Henare
Chief - Rawiri Paratene
Tama - Joe Falou
Chief Steward - Alvin Fitisemanu
Mahana - Kayte Ferguson
Pioi - Hori Ahipene
Hoku - Sima Urale
Young Tama - Tausani Simei-Barton
Young Mahana - Fokikovi Soakimi
Scary Island Chief - Pete Smith
Current Reviews... A 1969 short film produced by Brigham Young U. gets feature-length treatment in "The Legend of Johnny Lingo," a waterlogged seafaring adventure targeting family auds. Pic is better at conveying positive, character-building life lessons than at recapturing the grandeur of such movies as "Kidnapped" and "Treasure Island." Kids with healthy attention spans, however, ought to be engaged, while parents who blanched at the scatological content of "The Cat in the Hat" will find this far more acceptable. Pic has grossed roughly $800,000 in three months of limited nationwide release via nascent distrib Innovation. MGM has acquired worldwide video rights.
Pic reps a reunion for several of the key creative participants behind the 2001 Mormon missionary drama "The Other Side of Heaven": producers Gerald R. Molen (a regular producer of Steven Spielberg's films) and John Garbett, and editor Steven Ramirez, here taking on helmer duties as well. This pic, while retaining the earlier film's scenic Polynesian setting, is notably more secular in its approach, preaching only the gospel of taking responsibility for one's own actions and not judging a book by its cover. Like its 1969 predecessor, distributed as a secular educational film, pic is derived from the short story "Johnny Lingo's Eight Cow Wife," written by the late novelist Patricia McGerr, a Catholic.
Of course, some short stories were meant to remain exactly that. Co-screenwriters Garbett and Riwia Brown ("Once Were Warriors") have opted to keep McGerr's tale more or less intact as the third act of the film, concocting an elaborate backstory for the characters that accounts for most of pic's first hour.
A baby boy mysteriously washes off Malio Island during a fierce rainstorm. At first deemed to be a gift from the gods, he is christened Tama by the island's imposing tribal chief (Rawiri Paratene, memorable as the grandfather in "Whale Rider") and raised as the chief's own son.
But as Tama (played as a youngster by Tausani Simei-Barton) grows up, his constant clumsiness and bad luck convince the villagers he is cursed. Tama is bounced from one unwanting family to the next, eventually ending up in the home of the village drunkard, whose daughter, Mahana (Fokikovi Soakimi), is considered to be the ugliest and most undesirable girl in the village. Outcasts both, Tama and Mahana develop a special childhood friendship, until Tama decides to run away in search of his real family. He promises Mahana that someday he will return for her.
Setting off with few supplies and a sailing vessel that is essentially a homemade windsurfing board, Tama eventually washes up on yet another island, badly sunburned and dehydrated. He is nursed back to health by the imposing Chief Steward (Alvin Fitisemanu), right-hand man to Johnny Lingo, "the wealthiest trader in all the islands."
Lingo, played with larger-than-life grandeur by George Henare, is not, we learn, the first bearer of that famous name, but rather the protege of the original Johnny Lingo, who similarly sailed the high seas doing good deeds. He takes Tama under his wing and, as the years pass, it's easy to guess that Tama (played as an adult by Joe Falou) will eventually become the next Lingo.
Getting to that point in the story (essentially where McGerr first began hers) takes an inordinate amount of time. Pic only really springs to life in the final act, when Tama (now the new Johnny Lingo) returns to Malio to go about the "Cinderella"-like task of choosing a bride. (The adult Mahana is played by Kayte Ferguson). By this point, though, much of what the pic has to say about the false nature of appearances has, in one way or another, already been expressed.
In his first directorial outing, Ramirez opts for conventional stagings and, despite pic's widesceren lensing, fails to make vivid use of New Zealand and Cook Islands locales.
Camera (color, Panavision widescreen), Allen Guilford; editor, Steven Ramirez; music, Kevin Kiner; production designer, Rob Gillies; art director, Roger Guise; set dresser, Jennifer Ward; costume designer, Jane Holland; sound (Dolby Digital), Hammond Peak; supervising sound editor, Dave Whitehead; sound designer, Tim Prebble; visual effects, Oktobor; visual effects supervisor, Dean Lyon; assistant director, Tony Simpson; casting, Christina Asher. Reviewed at Laemmle One Colorado Cinema, Pasadena, Nov. 19, 2003. MPAA Rating: G. Running time: 91 MIN.
* 1/2 [1.5 out of 5 stars]
Talk about misleading your audience. I don't know where the filmmakers got the gall to use a title like The Legend of Johnny Lingo. I sat through the movie (a remake of a 1969 film) and I'm trying to figure out what's so damned legendary about Johnny Lingo.
Actually there are three Johnny Lingos. There might be more, but after seeing the movie I'm in no great hurry to find out. The third one's real name is Tama and his story takes place at the turn of the 19th century when the people of Malio Island in the South Pacific find baby Tama in a storm- battered canoe. Years pass and Tama proves to be more trouble than he's worth.
He's disowned by the village leader, passed off by another family, and finally ends up in the possession of a brute with a sympathetic daughter. Bound by their mutual ostracism, Tama and the girl become friends, but Tama wants to go to a magical island and sets off in a handmade vessel. He doesn't leave without promising to see his friend again, which he does eight years later, after lots of hard work and wise speeches courtesy of the second Johnny Lingo -- the mystical trader.
That plot wrinkle of Tama returning to his home as the new Johnny Lingo may sound fun, but it isn't, just like the rest of this movie. In fact, I'm still figuring out how this movie is playing in multiplexes. It's not the worst movie of the year -- that would be House of the Dead or maybe Boat Trip -- but it's certainly the most boring for two reasons.
First, Johnny Lingo and his feats aren't that memorable. Look at Paul Bunyon, John Henry, and even a sports hero of yore like Babe Ruth. Now, you can amuse any five-year-old with that trio. But Johnny Lingo? We never know why he's worthy of our attention. From what I can tell, Johnny sailed a boat really well, learned how to make "noni" juice, and met a girl. This constitutes a legend? I can come up with stories from last month that make me sound like a Greek god by comparison. You should here [sic] how my friend and I tried to cross First Avenue during the New York City Marathon...
Second, director Steven Ramirez and screenwriter Riwia Brown do an awful job with embellishments, both with the title character and the movie itself. When we're talking about a legend, there should be excitement aplenty, but the movie is strangely devoid of it. We don't get to see any of Tama's journeys or get an idea of what Tama envisions this magical island to look like. There's no adventure or fun anywhere in Johnny Lingo, which is odd because this is kid friendly fare.
The film's website makes a big deal about showcasing the culture of the Polynesian people and the story's values. That's admirable, but what kid would want to watch this? The movie doesn't reward them. There are no truly funny, scary, or heroic characters and no memorable visuals. As a boy I remember going to the movies, knowing that something special was going to happen once the lights went down. In the case of a Johnny Lingo screening, I'd advise children to take a long nap.
The Legend Of Johnny Lingo (2003)
U.S. Rating: G
Overall: B
Violence: B+
Sexual Content: B+
Language: A
Drugs/Alcohol: B-
Follow the link to Making The Grades for additional information on this film's content.
When a tiny baby washes ashore after a tropical storm, the islanders believe he is a gift from the gods. The only problem is, they aren't sure which one: The God of Blessedness or the God of Mischief.
Concerned the orphan might usurp her son's birthright, the chief's wife employs her gossiping tongue until the superstitious locals are convinced Toma (Tausani Simei-Barton) is a curse. Blamed for everything from poor fishing conditions to a house fire, the unwanted lad is passed from home to home, eventually taking refuge in the hut of the town drunk.
Here he finds a soul mate in Mahana (Fokikovi Soakimi), the alcoholic's wild-haired daughter who is about his age and also feels responsible for circumstances beyond her control. But when the father's criticism and the villager's teasing become unbearable, Toma takes a small boat and flees. He promises to return for his friend if he is successful in finding a better life.
Washed ashore for the second time, Toma is taken in by a wealthy trader named Johnny Lingo (George Hanare). The older gentleman optimistically maintains there is "a treasure hidden deep within everyone," and he is prepared to embark on the adventure of discovering it within the runaway. His chief steward however is a little more cautious, prescribing work as the cure for what ails the distrustful boy. Between them, Toma finds a nurturing ground for his wounded self-esteem.
When he reaches adulthood, Toma (Joe Falou) sets out to fulfill the pledge he made to his childhood sweetheart eight years earlier. Returning to Malio under the pretence of seeking a bride from amongst the island's eligible maidens, the bachelor is surprised to discover his charm and prestige are not enough to buy Mahana's (Kayte Ferguson ) affections.
Self worth is definitely the overall theme most promoted within this tale. Although "generic" islanders are used in the production, this same story could be transferred to any culture -- and we would be shortsighted to suggest Mahanas don't exist in our society today.
A product of New Zealand's film industry, The Legend of Johnny Lingo suffers a little from awkward construction and some preachy sentimentality -- faults that may be overlooked in favor of its beautiful scenery and family friendly script. After all, this South Sea's Cinderella story believes in looking for those pearls that are sometimes obscured behind clammy exteriors.
Talk about the movie with your family...
How does what we believe about ourselves influence the way we behave, and what we become?
Johnny Lingo tries to teach young Toma the wisdom he has accumulated over his lifetime. How do you feel about his statements: "Riches should be used for the benefit of others," and "Love is a costly commodity. The more you are willing to pay, the more valuable it becomes."
Video alternatives...
Disney's Aladdin looks for "the diamond in the rough" and Sinbad: Legend of the Seven Seas also gives uncertain characters a chance to prove their best intentions. Other products of the New Zealand film industry that features many of the same cast members are The Other Side of Heaven, and Whale Rider.
The MPAA rated The Legend Of Johnny Lingo (2003) G.
Overall: B
An orphaned boy struggles to find his self worth as he is passed from home to home, eventually landing in the care of a wealthy trader named Johnny Lingo. Although somewhat sentimental, the story offers positive messages about believing in oneself and looking for the good in others.
Violence: B+
Gossip is used to hurt another. Bullies push and shove a child and make threats. A character often throws fruit, rocks or eggs at others. A fire consumes a house believed to have a baby inside. Adults verbally abuse youngsters. Chocking man spits food out of his mouth. Character's life is threatened if a ransom isn't paid. A woman slaps a man's face.
Sexual Content: B+
Characters wear traditional south sea's costumes that expose men's bare chests, and women's shoulders and midriffs. A character's bare buttock is shown briefly. A woman tries to seduce a man as a bribe. A bathing woman's bare shoulders are shown. A couple kisses.
Language: A
Name-calling.
Alcohol / Drug Use: B-
A character is portrayed as drunken. A group of intoxicated young men drink from bottles. A powder is stirred into water and administered as a medicine.
Miscellaneous:
Brief bathroom humor includes a baby urinating and flatulence. A child claims he has borrowed, not stolen some household articles. A character lies and steals (negative consequences are shown).
[EXCERPT]
Contrary to popular belief, Kirby Heyborne has not been in every LDS movie ever made. But he has been in quite a few -- especially over the past couple of years.
..."I was not in '(The Legend of) Johnny Lingo,' " he quickly points out, adding with a laugh, "Also, you may not have noticed this, but I'm in the background in Richard Dutcher's movies. I'm playing 'the set.' "...
[EXCERPT]
...By the way, in case you haven't been counting, The Best Two Years is the 15th LDS Cinema feature film (not counting The Legend of Johnny Lingo, which is not technically LDS Cinema, although a large portion of its audience has certainly consisted of members of the church familiar with the original Brigham Young University-produced short film).