König Salomons Diamanten

The film follows an excellent hunter (Granger) who is payed to go on a safari to find the lost husband of Deborah Kerr and Richard Carlson. He reluctantly agrees. Along the way they run into different perils. Including many tribes that want the group dead.

The film is very exciting. And you feel for the characters when they come into contact with danger. I wish more action films could make you do that. The performances are the reason behind this. It's too bad that the actors and actresses in the film weren't nominated for Oscars. I doubt they deserved to win, but they deserved to be up.

The script is also very good. It strays away from the book just a little bit. But I have no problem with that because the film, by itself, is very good.

The cinematography and editing are flawless. And they rightly won Oscars. The film was also nominated for Best Picture. It's one of the better adventure films.

This colorful outdoor story is great entertainment and has excellent work by Stewart Granger and Deborah Kerr. The spare plot involves a search for a woman's missing husband which leads eventually to a diamond mine in a distant province. The safari braves assorted dangers along the way from wild animals and savage tribesmen, and the film captures the beautiful vistas of the African plains and exotic animals in their natural habitat. Richard Carlson is along as a member of the safari, as are two natives who provide fine characterizations as the plot unfolds. This picture doesn't have a music score but does have instead the drums and chants of the tribesmen that provide an authentic accompaniment to the film. Robert Surtees received an Academy Award for his excellent cinematography for this movie.

This 1950's version of King Solomon's Mines is unusual in a couple ways. First, there's no symphonic music score whatsoever. Film music is typically used to tell us what we as the audience should feel about activity on screen, and also tell us what the characters themselves are supposedly feeling. In this way both audience and characters share the same emotional reactions. Music on film is such a common and natural expectation (or substitute?) for an audience's emotions, that some reviewers here think the movie was bland and boring!

Secondly, the MGM crew of about 30 people and 7 cargo trucks spent months in 1949 filming this on the Dark Continent itself, at locations hundreds of miles from civilization in eastern Africa instead of the usual Hollywood lots. They enlisted the inhabitants of remote villages as actors, asked them to perform communal dances, and took many close-up shots of their faces, hair, headgear, jewelry and body paint. This amounts to some of the most magnificent - and rare - color and sound footage of "old" untouched African culture I've seen.

Not long after this, during the 1950's-1960's these villages gradually became part of the modern world, and by the 1980's, remote tribesmen were filmed as they hunted with spears - wearing "Michael Jackson" t- shirts.

The movie is generally pretty good, but the Africans steal the show.

I remember the movie played in our little town's premier theatre to considerable fanfare— See Darkest Africa As It Really Is in Dramatic Technicolor!— you know, that sort of thing. In fact it was a treat to see all the wild animals and fearsome natives, plus an exciting adventure story. I expect MGM made back its expenses and then some.

Of course, that was before TV brought the world into living rooms everywhere. The movie may have lost that long ago novelty, but it's still a good story set in what was then colonial Africa, with a first-rate cast, including the exotic Umbopa, the prince in exile. Then there's that thundering stampede whose mighty numbers still impress.

Like many reviewers, I cringe now at the elephant kill. I'm sure I didn't at the time, but then this ecological type change reflects a newer awareness, and one I think for the better. Actually, Quartermain (Stewart) is also bothered by big game kills, one reason he's ready to give up his hunting safaris.

Happily, Stewart's persuasive as the experienced white man, while Kerr does nicely as the British gentlewoman able to adapt her well-bred ways. (However, MGM, ever the glamour studio, refuses to de-glamorize her no matter how rough the going). I do feel a little sorry for tag-along John (Carlson) who, nevertheless, hangs in there. On the other hand, I'm still curious about the van Brun (Haas) role. Was that episode in the book or was it added to diversify and perhaps pad the storyline.

No, those old promotionals about Africa in Color wouldn't work now. But the movie's still an eyeful with a good adventure yarn and a fine cast, and those are film features that do endure.

The screenplay follows the British version by Robert Stevenson but the screenwriter Helen Deutsch changed the plot, as introducing a female character, the brotherhood relationship for matrimonial relation and eliminating the fantastic elements. Two English actors starred, Stewart Granger as the famous Allan Quatermain and Deborah Kerr as Elizabeth Curtis, hiring the great white hunter and accompanied by her brother John performed by Richard Carlson. At the time was announced as starring Errol Flynn , though he renounced for performing 'Kim' by Victor Saville. The safari led by Stewart Granger set out in search for her husband and the king Salomon's treasure mines. The brave hunter and the elegant lady become fast friends, confronting risks and danger in search of legendary diamonds mines.The African native is played by a real Watusi ethnic, Sinaque, reclaiming his rights over throne.In 1937 version was the supreme role performed by the singer Paul Robeson who proved his singing faculties.

The filming started in Africa 1949, running time five months. The crew travelled by hundred miles in planes and trucks across Kenia, Uganda, Congo Belgian, Lagoon Victory, Falls of Murchisin and north of lagoon Tanganika where live the Watusi. Polished and coloristic production design by the veteran Cedric Gibbons. Heat and ills affected the crew and main actors but Deborah Kerr surprised for her resistance. There had confronting between Stewart Granger and Compton Bennett and Andrew Marton directed the second unity. Then, Metro Goldwyn Mayer dismissed Compton and Marton finished the picture. It was nominated for best movie and won Academy Award for cinematography by Robert Surtees and edition. Had several take-out with no use and later Metro Goldwyn Mayer utilized for its follow-up.

The picture is followed by a sequel, rapidly made, created with excess footage previous, titled 'Watusi'(1959) by Kurt Neumann with George Montgomery and David Farrar. An inferior version directed by J.Lee Thompson(1985) with Richard Chamberlain and Sharon Stone; and a TV adaptation directed by Steven Boyum with Patrick Swayze and Alison Doody, among others.