Die Flamme von Arabien

1951's "Flame of Araby" was a fairly ordinary though well made adventure, aided greatly by the pairing of rugged Jeff Chandler and ravishing Maureen O'Hara, shot in saturated color as first "Wildfire," then "Flame of the Desert." It's strictly by the numbers scripting by Gerald Drayson Adams, a stodgy Arabian Knights outline depicting the conflicts between a regal Tunisian princess and a Bedouin chieftain, transformed by the staging of director Charles Lamont into a straightforward Western in the pursuit of a wild black stallion known to be the swiftest horse of them all, Shahzada. Jeff Chandler was described by future costar Jane Russell as more a personality than an actor (specifically 'a charming man'), which works here as his relentless desire to tame that which cannot be tamed equals that of Princess Tanya (Maureen O'Hara), whose hand in marriage has been promised to one of the dreaded Corsair brothers, desperately in need of a champion who can outrace their finest steeds to defeat them both. Much of Maureen's thunder is stolen early on by the stunning Susan Cabot, whose erotic dance before Chandler's Tamerlane made quite an impression on her instructor: "with a figure like yours, the only person who'll look at your feet will be Arthur Murray!" Once interiors conclude at the midway mark, it's an all outdoor feast most appealing to equestriennes everywhere who can appreciate the characterization of the horse Shahzada, his sleek nobility and sheer power essayed by 8 year old saddlehorse Highland Dale, best remembered as the 1946 "Black Beauty," and as Broadway Bill in Frank Capra's "Riding High." Back at Univeral for only his second film since 1945's "House of Dracula," Lon Chaney was cast as Borka Barbarossa, never seen without brother Hakim (Buddy Baer), preying upon the spinelessness of Tanya's ruler cousin (Maxwell Reed) to secure a princess in their midst (two years later, he appeared opposite John Payne's pirate Barbarossa in "Raiders of the Seven Seas"). Appearing unbilled are Neville Brand as a horse trader (reunited with Chaney from Gregory Peck's "Only the Valiant"), Richard Hale as Tanya's dying father, and pretty Dorothy Ford, a tall starlet soon to play opposite Buddy Baer again in Abbott and Costello's "Jack and the Beanstalk."

Bedouin chief Tamerlaine (Jeff Chandler) is engaged in the hunt for the legendary black stallion Shahzada. Also chasing the prize steed is Tunisian Princess Tanya (Maureen O'Hara), who desires to capture the horse to race in competition against hated brothers Borka (Lon Chaney) and Hakim (Buddy Baer), so she will not be forced to marry one of them. After a prolonged and deadly rivalry, Tamerlaine decides to join forces with Tanya to trap the stallion - and in the process, the two fall in love.

Intelligent adventure starring Maureen O hara and Jeff Chandler is beautifully shot, the landscapes and horse chasing are great, but it can be talky in between, and seems to be a bit ponderous, however, if it's a well-shot Arabian adventure with horses you're looking for, then don't look further....

Your enjoyment of this will depend on your ability to swallow the preposterous liberties the studios took with casting in the 50's. In this instance we have the Irish Maureen O'Hara, slight lilt intact, and the Jewish Jeff Chandler playing an Arabian princess and a Bedouin chieftain respectively racing around what is obviously the California desert standing in for the Sahara.

Queen of Technicolor Maureen is breathtaking and Jeff properly rugged but most of the acting tends towards woodenness. If you appreciate the campiness of that scenario than this is harmless fun, all others beware.

I am writing this because another wrote a throughly shoddy review which is undeserved; complaining about hair color & other unimportant things, whilst going on & on about Maria Montez, not that I am being disrespectful towards her, not at all, but as much as I too enjoyed the Jon Hall/Maria Montez movies, but ne'er could Maria Montez ever compare to Maureen O'Hara. I just this moment, finished watching the movie 'Bagdad', this other reviewer wrote a similar review for that movie also & it is just a pitiful.

I do not consider any of the parts overacted, nor do I find it odd for a Bedouin princess princess to have Flaming Red Hair. Where did it say that she was Bedouin, only a Bedouin princess. For all we know her mother could be Irish (like Maureen), just as Cleopatra VII had no Egyptian blood within her veins, or more currently, (1810) the current dynasty of Sweden (the Bernadottes) originally were French (Jean-Baptiste Bernadotte, a Marshall of France, during the time of Napoleon I), was elected heir to King Charles XIII of Sweden.

But aside from these justifications regarding hair color, we must remember that things like hair color are not important things to consider when reviewing a movie, but only whether or the the movie was entertaining. In that regard I can say that I shan't be clambering to see this one again, or 'Bagdad' either. The sets were beautiful, the costumes even more so, but the movie itself, just wasn't that good. But this is the fault of the script, not any other.

Without leaving California, Maureen O'Hara and Jeff Chandler are transformed into characters from Arabian folklore, and like their faux-location they are not very authentic! She is "Tanya" - a feisty Tunisian princess who is doomed to marry one of the marauding Corsair pirates. Fortunately for her, though, the ever-wooden Chandler ("Tamerlane") is on hand. He is seeking "Shazada" - a stallion of great fame, and it may be that he and this great horse might be the only way of thwarting the dismal fate awaiting the trapped princess. The plot is actually quite fun, but the execution is really poor. There is no chemistry at all between the stars, the sets look like they have been made of polystyrene and the dialogue is about as banal as it is possible to be. This vein of fantasy and mythology ought to have provided for a much richer storyline, but somehow here everyone seems to be just going through the motions and what little action there is, is all too theatrically staged. Maybe nobody liked filming in the desert on a hot day? The advertising was in colour, the film in monochrome - that rather sums this whole thing up.