Caravans

The film's scenario would never happen except in a novel, or a soap opera where the central character has to "find herself".

An USA Intelligence operative goes into the Persian desert to find a missing diplomat's daughter. His journey involves gun-running Arab nomads, flash floods and lots of camels.

Nevertheless Caravans is good escapist fun. I could watch this film again and again, as it is great cinema. Two good bonuses are the scenery and the soundtrack. Mike Batt (a fellow Brit) composed the stirring music and it is worth buying the soundtrack CD alone (you may recall the minor pop chart hit-single by Babara Dickson, called Caravans).

US Embassy official "Miller" (Michael Sarazin) is despatched into the desert to try to track down the missing daughter of an influential US Senator. After many days (and it does feel like it) he meets her new and proud local husband - "Col. Nazrullah" (Behrouz Vossoughi) who initially refuses to let him meet her, only for it to turn out that she has again gone missing. More travelling reveals she has taken up with "Zulfiqqar" (Anthony Quinn), a tribal leader who makes a bit of money on the side smuggling Russian rifles into India. What now ensues is a remarkably filmed but terribly plodding adventure story that sees him and "Ellen" (Jennifer O'Neill) begin to understand each other and for him to realise just what she loves about her new home and it's people. Mike Batt's score (featuring the lovely dulcets of Barbara Dickson) and some beautiful and historic cinematography in and around Iran adds loads of richness to this presentation of the story, but sadly Quinn arrives far too late in the day to rescue this from grand-scale mediocrity and it ends rather weakly and ponderously. It could easily have been thirty minutes shorter and perhaps that would have tightened it up enough to sustain the thinly padded out thread, but as it is, it's a long old slog!

I actually watched this movie being filmed while living in Isfahan, Iran in the last 1970s. My father worked for an American company, and I was in high school---there were actually 10,000 Americans living in Isfahan, (including families with children) before the revolution got underway and the evacuations of non-essential personnel started.

I haven't seen the movie since the time it first came out, but I do remember that (a) the score was quite good (b) although the plot of the original Michener novel dealt with Afghanistan, and although the adaptation may have put the "location" of the action near the Pakistani border, the filming of exterior sequences took place within an hour's drive of Isfahan, VERY far from the Pakistani border.

So, OK, Citizen Kane this isn't. I re-read the original Michener book a few years ago and went looking for the movie. Only the largest video store in town had it, and you had to ask, because it was waaaay in the back stacks.

They simplified and Hollywood-ized the book's plot and removed much of Michener's trademark exposition on the good things, bad things, history and cultural foibles of Afghanistan. For that matter, they scrubbed out the word "Afghanistan" and made it a generic "country in the mid-East".

But it does have a lot of wonderful photography of Iran and a genuine bedouin people, who provided the extras for Anthony Quinn's "tribe". Iran had its revolution and became mostly closed to the West just a year after shooting, and it is almost heartbreaking to see all the magnificent countryside and archaeological sites that provide the backdrop, along with the knowledge that it is still so difficult, dangerous, and expensive to visit.

This is a rare look into the Islamic world just before the Iranian revolution, that virtually cut-off all communication with Western cultures. International intrigue, and the complexities of "cold-war" politics are just below the horizon in this all too "Ugly American" tale of the last caravan.

The tribal scenes are unequaled in their energy and authenticity. The inclusion of local clans and their customs bring forth a realism unique to modern films. Unfortunately, this cannot be said of the screen play, which is shallow and reflects western values at their worst. Acting is staged at best. No attempt at character development, much less motivation.

Spectacular filming of Iranian ruins. Biblical visions, for those with open minds,are stunning. We can only hope for a deeper glimpse.