Thief of Damascus

This very conventional oriental tale takes many characters from "the thousand and one nights " who ,with the exception of Ali Baba whose cave ,should we believe him,is used for the last time ,are not given a single chance to shine (to show their skills): Aladdin talks about his lamp,but this magical thing is no help for the oppressed; Simbad is not a sailor and has no monster to fight against;had Sheherazade been so devoid of imagination,she would not have hold her master's attention for thousand and one nights . Neela even hints at Delilah ,a biblical character ,who does not appear ,all the same.

This story is too derivative ,and there are many directors who did more exciting movies with "the thousand and one nights" inexhaustible material.

634 A. D.:Though General Amdar is able to win the Siege of Damascus for his ruler Khalid, he is made an enemy of the State. Amdar escapes and steals a scimitar made of Damascus steel. He leads an alliance of Sinbad without his ship, Aladdin without his lamp, Sheherazade, and Ali Baba and his 40 thieves to depose Khalid and win the heart of Princess Zafir.

He might not look like Jon Hall, but Paul Henreid is good as the hero, energetically waving off the bad guys with his scimitar and wooing the princess who thinks he's "faking" his clash with the villain of the piece - Khalid. You know the score, it's typical Arabian adventure, and has all the Arabian Nights characters like Sinbad and Aladdin. A bit hokey, fast-paced and action-packed. Enough to keep you watching, especially if you're fan of these kind of films. I particularly liked Jeff Donnell as Sheherazade - loved her quips.

1952's "Thief of Damascus" was a Columbia potboiler from producer Sam Katzman, scripted tongue in cheek with quotable lines aplenty. Evil conqueror Khalid (John Sutton) demands the arrest of his best general, Abu Amdar (Paul Henreid), simply for negotiating a treaty of surrender from the Sultan of Damascus, without his consent. With sword fights carefully sped up for the benefit of Henreid's stuntman, we get almost every character associated with the Arabian Nights- Robert Clary as Aladdin (minus lamp), Philip Van Zandt as Ali Baba, Jeff Donnell as the fetching Sheherazade, and Lon Chaney as Sinbad. Add Elena Verdugo as Neela and Helen Gilbert as Princess Zafir, all the girls provide quite a visual treat in color, but in all fairness, Howard Hughes didn't scrimp on the pulchritude when he cast so many beautiful wannabe starlets in his own "Son of Sinbad," casting Vincent Price as Omar Khayyam! (he later confided that it was indeed a very happy set). Speaking of Sinbad, 45 year old Lon Chaney looks both strong and healthy, hugely enjoying his comic sparring with Robert Clary, later on HOGAN'S HEROES, and it's nice to see him again alongside luscious Elena Verdugo, his old co-star from "House of Frankenstein" and "The Frozen Ghost" (her hair almost as long as Patricia Morison's). 'Miss Jeff Donnell,' as she was billed opposite Boris Karloff in her second film, 1942's "The Boogie Man Will Get You," was a longtime mainstay at Columbia, appearing in "The Power of the Whistler," "The Phantom Thief" (Boston Blackie), and "The Unknown" (I LOVE A MYSTERY); still only 29, she's as sexy a Sheherazade as any man could ask for. Too bad Khalid failed to ask.

Everything is splendid in this sumptuous oriental adventure, built on all kinds of loose ends of Arabian nights with the action located in Persia in the 7th century. Paul Henreid is the hero, the general who gets defeated and dishonoured but who works his way back in glory, surrounded by three wonderful oriental ladies. There is a great musical score by John Leipold which underlines the extravagant phantasmagoria character, but the script is the best of all, brilliantly conceived with exquisite dialog all the way spiced with wonderful strokes of good and witty humour, and I don't think I have ever seen Paul Henreid this good. Lon Chaney Jr plays the joker Sinbad with Aladdin for a helpmate, it's all like a paraphrase of Michael Powell's "The Thief of Bagdad" two years earlier, and everything here reminds you of Michael Powell and his magic. It's the same vein, not equally sophisticated, but well enough to stand up for a good second. This film is a joy all through, and you will gladly return to it one day.

Before Roger Corman there were the B movie departments. At Warner Brothers they had Bryan Foy, at Paramount they had the Dollar Bills and at Columbia, which was a B movie Studio for 90% of their productions anyway, they had Sam Katzman.

This means, for this flick, occasional A movie intellectual support Paul Henreid, looking as depressed as he did in NOW VOYAGER or CASABLANCA, as an action hero, horror lead Lon Chaney Jr. in support for marquee value.... and the rest of the movie, for some reason, strikes me as having been cast out of a Brooklyn burlesque house: girls from the stage, extras from the audience. Director Will Jason came out of short subjects and directs the whole thing with not too serious an air. The set design looks like the designer went into the prop storehouse, had everyone grab everything they could carry and heaped it all together.

The net effect is ridiculous rather than funny, depressing rather than dramatic. Unless you want to see the hordes of the Middle East riding over landscape like American cowboys -- I've no idea who was directing the second unit, but it's clearly cowboys in those pointed helmets, wielding scimitars -- give this one a miss.