Notti d'oriente

The funny elements of this actually is well done. Especially for this being of that era. This movie is taken from the fairytales, and there are some beginning parts I think are like whatever and about to not check this, but it gets better, and you just accept all of the comedy which is capably done. This coulda been a by-the-book fairytale of the Nights yet the comedic take is a wise but also tall order to make it function for audiences, let alone audiences of like eras later. Another thing is mixing of genres: I am for sticking to one genre and using its qualities solely to make it good, not lazily latching on to another genre to make the movie function better when they cannot figure out how to make the genre's own qualities function, heck genres exist for a reason, when audience craves this or that: salty or sweet snack? What is astounding is the main funny man, the picaro, glasses-wearing guy is very reminiscent of the same similar glasses-guy 2 decades later in Mad, Mad, etc. World, of the hat-wearing glasses guy in that movie with the same comedic style, but done 2 decades prev. Whoa. THAT guy is probably the funniest character to me in that movie, and here it is like that type. The main hero is acceptable, especially during the reign of Flynn, for sword wielding heroes, and the genie lady manages to also add levity to this thing, which rather than do a rote-version of this tale which could have happened, making these fairytales as sources to make a comedy around is actually genius.

Comical variation on the Aladdin story. Aladdin (Cornel Wilde) falls in love with Princess Armina (Adele Jergens) but is forced to flee the kingdom with his sidekick Abdullah (Phil Silvers). He finds a magic lamp with a genie (Evelyn Keyes) inside and uses her wish-granting powers to help him return to his princess.

This is definitely a different-looking Cornel Wilde than I'm used to, with somewhat effeminate hair and makeup. Particularly in the early parts where there are lots of close-ups of him. His performance is good, though. He's suited for parts like this. Phil Silvers, who I'm not always crazy about, is lots of fun here. Adele Jergens and Evelyn Keyes, blonde and redhead respectively, are both beautiful in Technicolor. Keyes is the highlight of the film for me as the genie Babs. Dennis Hoey, of Sherlock Holmes series fame, is quite good in a different role. Two roles, actually. Shows he had some range. Lovely Technicolor, great sets and costumes, and nice effects. It's a fine piece of escapism.

Although the Arabian Nights Technicolor fantasies of the 1940s and 1950s were mainly the domain of Universal Studios, the other Hollywood majors understandably jumped on the Oriental band wagon while it was big box-office, and this endearingly modernistic revamp of the mythical tale of Aladdin was Columbia's contribution to that WWII craze. Having first (and only) read about this one on Leonard Maltin's Film Guide and never encountering it on Italian TV in my childhood, I leapt at the chance of acquiring it on DivX but, as is becoming increasingly (and frustratingly) regular with this format, there were lip-synch problems which, thankfully, were corrected via conversion to DVD. But, enough of this techno-babble…

Aladdin is played by Columbia's star Cornel Wilde – he had just been Oscar-nominated for A SONG TO REMEMBER (1945) – who is curiously fourth-billed here; he even gets to sing several times (a talent of his that I had previously been unaware of…if that was indeed his voice on the soundtrack); incidentally, I should be acquiring another somewhat obscure Wilde costumer very soon called STAR OF India (1954) which I intend to watch over the Christmas week. As I said in my introduction (and perhaps to differentiate itself from the rival Universal product), the film-makers also engaged the services of another currently hot commodity in bespectacled comedian Phil Silvers as Aladdin's pickpocketing sidekick. At first, I balked at his modern-day savvy personality (with in-jokes towards The Lone Ranger, liberal use of hip words like "groovy", etc.) but was eventually won over by his gauche schtick culminating in his hilarious Frank Sinatra transformation at the film's very end. Another asset to the film is the delightful (if belated) presence – as a mischievous female genie of the proverbial lamp – of the late (she died earlier this year aged 91!) Evelyn Keyes; naturally, she falls in love with her master Aladdin but, losing him to Princess Adele Jergens, she creates her own clone!

Speaking of the Universal rivalry, I was surprised to see Dennis Hoey (best-known as the bumbling Inspector Lestrade of Universal's ongoing Sherlock Holmes series with Basil Rathbone and Nigel Bruce) in a dual rule as the villain, not to mention Rex Ingram reprising (albeit too briefly) his celebrated giant characterization from THE THIEF OF BAGDAD (1940)! Like its prototype ARABIAN NIGHTS (1942), this film was also looked on favorably by Academy Award voters in the technical categories: art direction-set decoration and special effects (mostly having to do with Silvers being unable to see Keyes and Wilde's transformation into a dog – another nod, I suppose, to that afore-mentioned Alexander Korda production).

"Oh, if only I had a gun... No, wait, they haven't been invented yet!". Phil Silvers brings a distinctly pantomime effect to this retelling of the Sinbad meets Arabian Nights story. To keep up the swash and the buckle, we have the dashingly mischievous "Aladdin" (Cornel Wilde) who falls in love with the ultimate in forbidden fruit, the princess "Armina" (Adele Jergens). She is the daughter of the caliph Dennis Hoey who also doubles up as his own dastardly twin with designs on both the throne and his neice. "Aladdin" and his sidekick "Abdullah" (Silvers) have a wheeze going on that sees the former entertain the crowds whilst his pal surreptitiously relieves them of their valuables. When he spots his forbidden love and faces years in the dungeon, they abscond into the mountains where he finds a lamp. Of course he rubs it, and out pops "Babs" (Evelyn Keyes) to hear and to obey. Sure, she accommodates his wishes to impress at the court, but she also has taken a little bit of a shine to her new master and she is not averse to a little mischief of her own to get her man. Fans of Silvers and his screwball, bespectacled, humour might enjoy this but I'm more a fan of the Korda-style telling of these stories (indeed Rex Ingram appears in the same red costume here from "The Thief of Bagdad" from 1940) and I found the comedic antics and the breaks for obviously dubbed musical numbers spoiled the adventure element. That really only comes to the fore in the last ten minutes and isn't up to very much. Wilde's in his element and Keyes in clearly enjoying her role here, but if there is such a thing as a fantasy purist, that is me - and this just fell between too many stools. It does look great, though, and there are a few clever visual effects, but original is usually best and this is neither.

A Thousand and One Nights is a rollicking, bawdy and unapologetically 40s vision of the ancient Arabian legend of Aladdin.

Just as Disney's animated feature "Aladdin" updated the genie-in-a-bottle storyline for the 90s mindset, this exploration fuses the epic musical film style of big-budget Hollywood films in post-War America with the cultural stereotypes surrounding the Middle East. The results are a fantastic, if laughable, adventure movie, geared towards young adults and the elderly, but with plenty to chew on even for children.

Imaginative sets and superb costumes present a lavish spectacle of colour and brilliant old school special effects combine with well-performed choreography to keep the action and laughs rolling, and the viewer suitably engaged. However, the cinematography and lighting are disappointingly one-dimensional, suggesting more of a stage adaptation than an original film.

Performances, especially vocal, are largely impressive. For a script that contains a bewildering assortment of varied characters, often singing choruses, a great cast of character actors is needed, and it's definitely the largely uncredited bit parts and cameos (Shelley Winters!) that make this ensemble memorable. With a wooden lead in Cornel Wilde (Aladdin), best friend Abdullah (Phil Silvers) really picks up the slack, with an endless stream of predictable--yet nonetheless witty--wisecracks. Even Babs (Evelyn Keyes), the emotionally-berserk female genie, manages to convincingly portray a noticeably pathetic, but likable, co- starring lead.

All told, this one's a must for film fans of days of yore and students of Hollywood Orientalism alike. If the rousing music and generous matte sets don't sweep you off your feet, the astonishingly ludicrous premise of a comedic epic musical based on an ancient tale of dread and magic will have you rolling on the floor laughing.