User reviews

"Omar Khayyam" is in many ways a typical 50s Hollywood oriental sword and sandal epic but with a few twists and tremendous (unmet) potential. The actual story of three friends (Hassan, Omar and Nizam) goes back hundreds of years and is pretty engaging. The historical personalities of Omar and Hassan al-Sabbah are quite interesting characters. There is potentially a great film here.

The actual production is not great but it has some nice things: Michael Rennie gives a great performance as Hassani. It is one of his best things, right up there with the alien in "The Day the Earth Stood Still." It also has Raymond Massey and the great Abraham Sofaer, a distinctive character actor, as Tutush, the Sultan's brother. It has a fine score by Victor Young and some neat matte paintings of Alamut. Some of the lines are great: "I know of some other heads that should be sealed with wax and honey." But in the end it is too formulaic of a Hollywood spectacular. Cornel Wilde is too stolid. Such a rich historical backdrop and fascinating subject matter is worthy of a better film.

Omar Khayyam, medieval poet and scholar and quite the scientist as it turns out in this film, stars Cornel Wilde in the title role. Khayyam is a guy content to do his scholarly thing, but there's a whole lot of treachery going in Persia and it's coming from people close to him.

The legend of Omar Khayyam has him involved with two others, a rich merchant Hisreini who becomes leader of the assassin cult and Nizam who is prime minister to the Shah, played respectively by Michael Rennie and Sebastian Cabot. Rennie who is as always cultured and refined, is the 12th century Osama Bin-Laden of the piece. His is probably the best performance of the film.

By the way Omar Khayyam gives one an opportunity to see both the men who Cecil B. DeMille considered for the role of Joshua in The Ten Commandments in the same film. John Derek who is the crown prince played Joshua and Wilde was the one originally offered the part.

The film was done at Paramount which was a bit unusual itself because the Arabian knights type films were an in house staple of Universal Studios.

Probably Cornel got the part after Tyrone Power who was freelancing then turned it down. It was that way all Wilde's life, getting sloppy seconds from either Power or Errol Flynn.

The film is all right, but should have had Wilde doing a bit more swordplay. He was in real life a champion at fencing.

Omar Khayyam is no biopic or documentary on the life and works of the poet, astronomer and mathematician but a fine adventure romance flick of the 50s shot in beautiful Technicolor. So if you are in the mood for some classic shot of the 40s and 50s (Arabian Nights, The Thief of Bagdad, Son of Ali Baba and The 7th Voyage of Sinbad to name a few), Omar Khayyam may just provide the right shot of adventure and nostalgia. I watched this one per chance for the first time these days and the movie send me right back to that glorious and simple times of Hollywood adventure movies in Technicolor. For sure not one of the best of that era, but a solid and fun one.

Other reviewers said it best; this is your typical 1950s period pic actioner with lots of adventure and some sword play. I never pictured Omar Khayyam as much of an infiltrator, but the movie, being a movie from the 50s, takes liberty with Khayyam's life, and spices things up for the audience. Think about it. If you were a young man needing to take his girl on a date in 1957, would you want to see some existential docu-drama about the Persian poet's life and works? No, more like you'd want to see something that had action, romance, adventure, and heroics over bad guys to cap off the evening.

Well, this movie delivers. It's not an outstanding movie, but it's a good simple basic film that, to be honest, was a little ahead of its time in terms of addressing the turmoil in the middle east. Allusions to caliphates, the "one true religion", secret hideouts in the mountains certainly ring bells with events since our own September 11th, 2001. But, fortunately our hero, Omar Khayyam played by Cornel Wilde, uses his learned ways and scholarly teachings to fight a familiar foe we know today, whose roots are seated in past pride.

The story is right out of Hollwood 101, and everyone here is from central casting. The performances are a little wooden, and SFX are easily spotted but do their job, and overall the production values are fairly solid. Omar Khayyam doesn't give us too much of his poetry as he's too busy saving the kingdom of those he serves, but we are treated to a few lines of his poetic brilliance before the movie ends.

It's worth seeing once, and perhaps again on a rainy weekend afternoon. It's that kind of a movie. Watch it, enjoy it for what it is, but don't take it too seriously.

Overall a decent watch.

Enjoy.

Unfortunately we do not have a lot of biographical detail on Omar Khayyam, one of the world's greatest mathematician, astronomer and poet, and a philosopher as well. His tomb, still existent in Iran is a great monument of Islamic architecture. This movie is a monument to Hollywood's inability to capture any of those values and turn it all instead into a vapid adventure story with miles of cheap fabrics that look 'exotic'. We even get a band of "assasins' that is very similar in spirit, logical plan and training to today's Taliban.

Cornell Wilde is unable to project the charisma and genius of this Persian poet. He looks like a retired banker that lives in NY, has a mild interest in the theater and is doing this movie because he wants to have a tax right-off. He should have been played by Omar Shariff. Margaret Hayes is great camp as Queen Zarada, the queen mother whose ambition will stop at nothing to secure the throne for her sons. She is also capable of sustaining a platinum blond mane in the midst of the harem with great aplomb, as a symbol and reminder that all queens should be white, blond and preferably from Philadelphia. She is always trailing several yards of Technicolor blue cape behind her every move. Joan Taylor is so ferociously loyal and annoyingly organized as Yaffa, Omar's slave, that one is relieved to see her being pushed from a cliff. Debra Paget plays Sharain, Omar's great love and inspiration for his poems, as a secular nun who also clearly has a cross-eyed problem. This role should understandably have gone to Arabian Night-resident-Hollywood-expert Maureen O'Hara. Michael Rennie is the EVIL Hasani Sabah, and gives the best performance in his role as the ruthless leader of the Assassins sect. One laments not to see him shirtless and wearing a pendant cabochon emerald from one of his handsome earlobes.

As a vapid Arabian Night action movie it has all the polyester, plated gold, architectural plaster and Technicolor spectrum of saturated glamorama to while away a lazy summer afternoon. Great double feature with a Sinbad or Baghdad movie.

Leaving aside whether this film has some accuracy on the Persian poet and matemathician's life or not (history doesn't know much about him), I agree with a review here that states a better movie could have been made with this story.

The picture is very slow in its first part -almost boring- and it gets more interesting when the plot to kill the Sultan by the Assassins appears and some action with it. The settings are acceptable -no more than that- if we consider this a 1957 product and so are the costumes and the musical score by Victor Young.

But I think the major flaw in this movie is Cornel Wilde's casting as the main character. Wilde was never a more than average actor and here he is unable to support the weight of a film in which he is the center. He lacks charisma, strength and presence as Kayyahm and renders a dull performance. The rest of the cast is standard with the exception of Michael Rennie who plays a great villain worthy of a much better effort.

Perhaps if the movie had focused on the second part only -that is the the Assassins sinister plans and the fight against them- and included a much more suitable actor in the main role, we would be talking about a really enjoyable epic adventure film.

This Hollywood film from the major studio PARAMOUNT is about the Persian poet and scientist Omar Khayam, who lived in the 11th century AD.

A perfect hero role for Cornel WILDE! Unfortunately, the film by Oscar nominee William DIETERLE (1893-1972), who was born in Ludwigshafen on the beautiful Rhine, turned out to be an overly slick studio production. The cardboard backdrops and artificial flowers are too obvious. That's just how films were made in the era of the big studios. But the attractive actors like Debra PAGET, who was soon to move to West Germany for TIGER VON ESCHNAPUR, and John DEREK, who was to make films in Italy shortly afterwards, are worth seeing.

The film offers an unusual setting by taking place in early Persia, but overall this is not used convincingly enough.

The 11th century mathematician-poet Omar Khayyam who lived in Baghdad wrote quatrains in Persian which are still quoted. The exact details of his life are unknown, so Hollywood wrote a biography on the tabula rasa of his life. Cornel Wilde plays the often-drunk Omar Khayyam who longs for his sweetheart who the Sultan keeps in his harem as his third wife. Omar Khayyam works in the Sultan's court as a mathematician who is drawing up a new calendar. When the Sultan dies, Omar Khayyam stumbles upon a plot to kill off the Sultan's successor. The poet then goes off to foil the plot. He crosses swords with the Assassin sect whose members are deluded by their leader into thinking that they are in paradise when they actually are in a hashish-induced zombie-like state. In fact, the word "assassin" means "hashish-eaters".

Cornel Wilde who plays Omar Khayyam is unable to be a debonair swashbuckler because he has to play a tortured poet. Michael Rennie as the sinister Hasani is wonderful. His aquiline features suit his Arab role. The rest of the cast is unremarkable. "Omar Khayyam" has all the Arabian Nights cliches - harems, slaves, sultans, thieves and intrigues. It is a type of movie which will not be made again because, these days, the Middle East brings up visions of fanatical terrorists, not innocuous fables of highly intellectual Arabs amidst the magnificence of ancient Baghdad.

(Reviewed by Sundar Narayan)

And this time, this is not a Cecil B De Mille's movie, not TEN COMMANDMENTS, not SAMSON AND DELILAH but another One Thousand and One Nights tale without Maria Montez or her heir Maureen O'Hara or Yvonne De Carlo but Debra Paget, and with Cornel Wilde instead of Tony Curtis or Jeff Chandler. This is a tremendous film, full of this magis exotic, Arabian - or may I say Persian - charm, this enchanting Victor Young music, this amazing production design and settings. I saw this movie on the French TV when I waas a child a sunday afternoon, during the early seventies. It is a rare Paramount major film, so rare. Bill Dieterle was really a good director, who unfortunnately finished his carrer in Italy, like Andre De Toth, Jacques Tourneur, Hugo Fregonese, Douglas Sirk, Rudy Maté.