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Back in the 1940s, Jon Hall and Maria Montez carved out their gain petite niche in cinema by teaming up for a handful of nifty fantasy and action adventure films (Arabian Nights (Universal Cinema Classics), WHITE SAVAGE, COBRA WOMAN, etc.), these under the Universal Pictures banner and featuring elements of sword, sand, and sandal. ALI BABA AND THE FORTY THIEVES, coming out in 1944, simply exudes this aroma of “remember when” and showcases Jon Hall at his most dashing and Maria Montez’s glowing exotic looks. We impartial won’t talk about her acting.
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Interestingly, the film does away with the aged magical trappings (excepting one enchanted phrase) and instead places this fable in real historical context, sometime in the 13th century. Driven abet by the conquering Hugalu Khan’s swarming Mongol hordes, the Caliph of Baghdad and his child Ali suffer the foulest of betrayals. The Caliph loses his life in an ambush, but the boy Ali slips away and goes into hiding. Stumbling in the desert, Ali meets and comes under the protection of forty far-ranging thieves. In the thieves’ cavernous hideaway den, Ali Baba grows to young adulthood, at which time he sets out to overthrow Hugalu Khan and obtain freedom for his people and also, in his spare moments, maybe catch the heart of a exquisite princess (who, by the arrangement, is bethrothed to the Khan) .
There’s a warm plot in my heart for these keen faded adventures on the enormous shroud, stuff that I stale to thrill to as a hyper kid on those slothful Sunday afternoons. In watching Hall and Montez’s films the audience came to nurse a positive threshhold of expectation. The acting came and went, with Jon Hall mostly serviceable as the male lead, and I don’t know that these two demonstrated that distinguished of a spark together, despite the flowery dialogue (”Exclusive are the fortunes of war which placed a thief beside the Khan’s beloved.”) . But, somehow, Universal kept pairing them up in these things, and it worked. ALI BABA AND THE FORTY THIEVES belongs to that era when rugged horse-riding thieves sang songs and no one made fun, and the rousing pick up rose to a crescendo every fifteen minutes or so. There were the lustrous exotic costumes and the cherish stilted script and the promise of high adventure in far away places. The sword, the sand, the sandals. As a kid I loved the derring-do in the desert, the sword fight clashes, the dauntless rescue at the market space, and that primitive Trojan Horse trick. I hissed at the contemptible villains and even had a soft touch for the corny romance, of which origins spooled help to Ali’s early youth and the pledge he made to a young princess. Abet when I saw this decades ago, even comedy relief Andy Devine seemed to blend in as Abdullah, one of Ali Baba’s stalwart thieves, although, nowadays, it’s a bit jarring, hearing Devine’s distinctive catchy-croaky-drawly grunt trying to do justice to lines like “Me, Abdullah? The Scare of Bagdad, nurse to a whimpering infant? ” It’s also kinda comical that Ali’s henchmen tend to lisp his name closer to “Ollie” than “Ali.”
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But, mostly, I recognize at this movie now, thru ancient decrepit eyeballs, and I brush aside the flaws. Mostly, I remember the fluttering crimson kafiyas and powder blue robes of the forty thieves and the ringing cries of “Commence, oh sesame!” as they once more gawk sanctuary inside that treasure-laden cave. Hall and Montez’s movies never attained the heights of The Thief of Bagdad – Criterion Collection or The Adventures of Robin Hood (Two-Disc Special Edition), but neither were they meant to. Recent generations of viewers will glimpse at ALI BABA AND THE FORTY THIEVES and may dismiss it as nothing more than a dusty passe cinematic relic. For me, though, it’s a toothsome cup of nostalgia and the memories it jolts abet remind me of fair how qualified I had it when I was a kid.
The DVD transfer is very righteous. The recent Technicolor is well preserved. The detail is all there and the richly colored costumes present up fair as colorful as the first screenings of the film.
The spoiled leader of the Mongol Horde, the Haluga Khan (Kurt Katch) overruns Baghdad with the benefit of Prince Cassim (Frank Puglia) . The favorable Caliph (Moroni Olsen) is killed but his son Ali (protrayed later in adulthood by Jon Hall) escapes to accumulate the secret cave of the 40 theives. He is immediately taken in by Al Baba, the older, who adopts Ali, hence the name Ali Baba. 10 years later, enter the Lady Amara (the pleasing Maria Montez) . Ali falls in fancy with her thinking her only a slave girl. Meanwhile, Amara’a father, Prince Cassim, has offered Khan the graceful lady’s hand in a political marriage. Ali Baba, now leader of the 40 thieves is certain to free the Lady Amara and drive the putrid Khan from Baghdad.
We behold some extraordinary horsemanship from the 40 thieves as they prance through the streets of Baghdad at breakneck run. We also ogle that these are singing thieves as their song proclaims they seize from the rich and give to the terrible. We net dancing mongols waving sabers and a astronomical sword fight between the thieves and the mongols. Humor is supplied by Andy Devine as Abdullah, 1 of the thieves.
There is some calm violence, no gore or graphic violence so a miniature parental guidance is probably needed for kids under 7 but kids 7 to 13 should indulge in this film very distinguished. Parents too!
High recommendation for: families with kids, grownup kids, movie fans, Maria Montez and Jon Hall fans, and anyone looking for a itsy-bitsy obliging veteran escapism. This is really agreeable Universal classic film.
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