Some movies just feel like a fever dream you had after staying up too late watching cable TV in 1987. Jane and the Lost City is exactly that. It's weird. It’s campy. Honestly, it’s a bit of a mess, but that’s precisely why we’re still talking about it decades later. Based on the long-running British comic strip Jane by Norman Pett—which, let’s be real, was mostly famous for the heroine constantly losing her clothes—this 1987 film adaptation tried to capture a very specific kind of wartime nostalgia mixed with Indiana Jones-style adventure. It didn’t quite land the way the producers hoped, yet it remains a fascinating artifact of British cinema history.
You've probably seen the posters. Kirsten Hughes as Jane, looking every bit the 1940s pin-up, flanked by Sam Jones—yes, Flash Gordon himself—playing the rugged Jungle Jack Buck. It looks like a high-budget epic. It wasn't. The film was shot on a shoestring budget in Mauritius, and every penny (or lack thereof) shows up on the screen in the most charmingly low-fi way possible.
What Jane and the Lost City Was Actually Trying to Do
Director Terry Marcel had a vision. He wanted to translate the "cheeky" spirit of the original Daily Mirror comic strip into a live-action adventure. The strip was a massive morale booster during World War II. Soldiers loved it. It was lighthearted, a bit risqué for the time, and patriotic. But by 1987, that vibe was a tough sell. The movie follows Jane as she’s recruited by British Intelligence to find a legendary lost city in Africa before the Nazis do. It's a classic trope. The problem was that by the late 80s, Spielberg had already perfected that formula with Raiders of the Lost Ark.
Jane felt like a parody that didn't know it was a parody. Or maybe it did? That’s the debate fans still have. The film uses a strange "comic book" aesthetic where the backgrounds often look like flat matte paintings or literal drawings. It’s intentional. Marcel wanted it to feel like you were stepping into the newsprint. Some people find it jarring; others think it’s a stroke of low-budget genius.
The Sam Jones Factor
Let’s talk about Sam Jones. After Flash Gordon, his career took some interesting turns, and Jane and the Lost City is peak "interesting." He plays Jungle Jack Buck with a level of earnestness that is either incredible acting or total confusion. He’s the quintessential American hero dropped into a very British farce. The chemistry between him and Kirsten Hughes is... well, it’s there. Hughes actually does a great job playing Jane as a "naïve but plucky" heroine. She captures that specific 1940s dialect perfectly. "Golly!" and "Oh, dear!" are her primary weapons against the Third Reich.
Why the Lost City Stays Lost
The "Lost City" in the title is the city of Cephren, populated by a cult of leopard-worshipping people. This is where the movie goes from a standard war adventure to something truly bizarre. The villains are led by Maud Adams, who played Octopussy in the Bond franchise. She plays the villainous Lola Pagola. Seeing a Bond girl go full camp as a Nazi-affiliated antagonist is a highlight.
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The production design here is wild. We're talking about a city that looks like it was built out of leftover sets from a community theater production of Cleopatra. But there’s a sincerity to it. They weren't trying to be gritty or "grounded." They were trying to make a comic strip breathe.
Critics at the time were not kind. They pointed out the thin plot and the dated humor. But they missed the point. Jane and the Lost City isn't about deep narrative arcs. It’s about the aesthetic of the 1940s seen through the lens of the 1980s. It’s a double-layered nostalgia trip.
The Comic Strip Roots
To understand the film, you have to understand the source. Norman Pett created Jane in 1932. During the war, it became a phenomenon. Legend has it that when Jane finally appeared fully nude in a 1943 strip, British troops advanced six miles in North Africa the next day. The strip was linked to national morale. The 1987 movie tries to honor this by having Jane’s clothes constantly getting caught on branches, torn by villains, or falling off during escapes. It’s played for laughs, staying true to the "clumsy pin-up" trope of the original material.
Is it "problematic" by today's standards? Kinda. It’s definitely a product of its time—and the time it was trying to emulate. But it’s remarkably harmless because it’s so goofy. There’s no malice in it, just a lot of "Oops, my skirt fell off while I was fighting Nazis."
The Technical Weirdness of the 1987 Production
Technically, the film is a marvel of "making it work." They didn't have the money for massive sets. Instead, they used "miniature" effects and forced perspective that looks... well, distinct.
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- The Lighting: It’s bright. Extremely bright. It feels like a sitcom set in the middle of a jungle.
- The Sound: The dubbing is often slightly off, giving it the feel of a translated Euro-cult film, even though it’s a British production.
- The Pacing: It moves fast. It’s only about 90 minutes long, and it refuses to slow down for things like logic or character development.
Honestly, the score is one of the best parts. It has that jaunty, adventurous orchestral swell that makes you feel like something important is happening, even if what’s actually happening is a guy in a bad leopard suit chasing a blonde woman through a cave.
Why You Should Actually Watch It
You don’t watch Jane and the Lost City for a masterclass in filmmaking. You watch it because it’s a time capsule. It represents a moment in the 80s when "pulp" was being rediscovered. It sits on the shelf next to movies like Sheena, Allan Quatermain and the Lost City of Gold, and Sky Bandits.
It’s also an incredible example of how to adapt a comic strip without using CGI. Everything is practical. Every stunt, as clunky as it might look, was done by a person in a real location. There’s a texture to it that modern green-screen movies lack.
Finding the Film Today
Tracking down a high-quality version of this movie is notoriously difficult. For years, it lived on grainy VHS tapes and bootleg DVDs. There have been some digital scans, but it hasn't received the "Criterion treatment" yet. If you find a copy, cherish it. It’s a piece of niche history.
The film also serves as a reminder of Kirsten Hughes' talent. She largely stepped away from major film roles later, but here, she’s a star. She has the comedic timing of a silent film actress. She knows exactly when to give the camera a "Can you believe this?" look.
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The Lasting Legacy of Jane
While the movie didn't launch a franchise, the character of Jane remains an icon of British pop culture. There’s a reason people still cosplay as her at vintage festivals. She represents a "Keep Calm and Carry On" attitude, but with a bit more spice.
The film failed because it was stuck between two worlds. It was too "old-fashioned" for the 80s youth and too "cheap" for the blockbuster crowd. But for cult cinema fans, that’s the sweet spot. It’s a movie that shouldn't exist, but it does. It’s bright, loud, and completely ridiculous.
Actionable Insights for Cult Cinema Fans
If you're looking to dive into the world of Jane and the Lost City or similar "lost" 80s classics, here is how to appreciate the experience:
- Context is Everything: Before watching, look up a few original Norman Pett comic strips from the 1940s. Seeing the art style will make the movie's weird visual choices make way more sense.
- Look for the "Easter Eggs": The film is packed with references to 1940s British culture that might fly over the head of a modern US audience. Keep an eye out for the specific slang and the way the "Intelligence" officers behave.
- Check the Credits: Look at the names involved. You’ll find people who worked on everything from Bond films to Doctor Who. This was a small world of British talent trying to make a big splash.
- Manage Expectations: This is not Indiana Jones. It’s a live-action cartoon. If you go in expecting The Last Crusade, you’ll be disappointed. If you go in expecting a campy, fun, jungle romp with 80s hair and 40s sensibilities, you’re going to have a blast.
The best way to experience this movie is with a group of friends who appreciate the "so bad it's good" genre. It's a conversation piece. It’s a reminder that cinema doesn't always have to be perfect to be memorable. Sometimes, being weird is enough. Jane and the Lost City is definitely weird. And that's why it's still here.