| Photos (see all 17 | slideshow) |
| Marlene Dietrich | ... | Domini Enfilden | |
| Charles Boyer | ... | Boris Androvsky | |
| Basil Rathbone | ... | Count Ferdinand Anteoni | |
| C. Aubrey Smith | ... | Father J. Roubier | |
| Joseph Schildkraut | ... | Batouch | |
| John Carradine | ... | Sand diviner | |
| Alan Marshal | ... | Capt. De Trevignac | |
| Lucile Watson | ... | Mother Superior Josephine | |
| Henry Brandon | ... | Hadj | |
| Tilly Losch | ... | Irena | |
| rest of cast listed alphabetically: | |||
| Eric Alden | ... | Anteoni's lieutenant (uncredited) | |
| Louis Aldez | ... | Blind singer (uncredited) | |
| Harlan Briggs | ... | American tourist in hotel (uncredited) | |
| John Bryan | ... | Brother Gregory (uncredited) | |
| Ann Bupp | ... | Girl (uncredited) | |
| Pedro de Cordoba | ... | Gardener (uncredited) | |
| Corky | ... | Bous-Bous, the Dog (uncredited) | |
| Nigel De Brulier | ... | Lector at monastery (uncredited) | |
| Marcel De la Brosse | ... | Member of De Trevignac's patrol (uncredited) | |
| Barry Downing | ... | Little Boris (uncredited) | |
| Helen Jerome Eddy | ... | Nun (uncredited) | |
| Irene Franklin | ... | American tourist's wife (uncredited) | |
| Robert Frazer | ... | Smain (uncredited) | |
| John George | ... | Waiter (uncredited) | |
| Ann Gillis | ... | Convent girl #2 (uncredited) | |
| Ferdinand Gottschalk | ... | Hotel clerk (uncredited) | |
| Betty Jane Graham | ... | Convent girl (uncredited) | |
| Bonita Granville | ... | Convent girl (uncredited) | |
| Edna Mae Harris | ... | Oasis girl (uncredited) | |
| Marcia Mae Jones | ... | Convent girl #1 (uncredited) | |
| Jane Kerr | ... | Ouled nails madam (uncredited) | |
| Leonid Kinskey | ... | Voluble Arab (uncredited) | |
| Michael Mark | ... | Coachman (uncredited) | |
| Andrew McKenna | ... | Mueddin (uncredited) | |
| Louis Mercier | ... | Member of De Trevignac's patrol (uncredited) | |
| Russ Powell | ... | Proprietor (uncredited) | |
| Frank Puglia | ... | Man (uncredited) | |
| Maria Riva | ... | Young girl sewing in the first scene at the Convent (uncredited) | |
| Adrian Rosley | ... | Mustapha (uncredited) | |
| Marion Sayers | ... | Oasis girl (uncredited) | |
| David Scott | ... | Larby (uncredited) | |
| Robert R. Stephenson | ... | Member of De Trevignac's patrol (uncredited) | |
| Frances Turham | ... | Oasis girl (uncredited) | |
| Betty Van Auken | ... | Oasis girl (uncredited) | |
| Charles Waldron | ... | Abbe of monastery (uncredited) | |
Directed by | |||
| Richard Boleslawski | |||
Writing credits | ||
| Robert Hichens | (novel) | |
| W.P. Lipscomb | (screenplay) and | |
| Lynn Riggs | (screenplay) | |
| Willis Goldbeck | (contributor to treatment) uncredited | |
Produced by | |||
| David O. Selznick | .... | producer | |
Original Music by | |||
| Max Steiner | |||
Cinematography by | |||
| Virgil Miller | (director of photography) (uncredited) | ||
Film Editing by | |||
| Hal C. Kern | |||
| Anson Stevenson | (uncredited) | ||
Set Decoration by | |||
| Sturges Carne | (settings) | ||
| Lyle R. Wheeler | (settings) (as Lyle Wheeler) | ||
| Edward G. Boyle | (settings) (uncredited) | ||
Costume Design by | |||
| Ernest Dryden | |||
Makeup Department | |||
| Sam Kaufman | .... | makeup artist (uncredited) | |
Second Unit Director or Assistant Director | |||
| Eric Stacey | .... | assistant director | |
| Otto Brower | .... | second unit director (uncredited) | |
| Chauncy Pyle | .... | assistant director (uncredited) | |
Art Department | |||
| Lansing C. Holden | .... | color designer | |
| Irving W. Sindler | .... | props (uncredited) | |
Sound Department | |||
| Earl A. Wolcott | .... | sound recordist (as Earl Wolcott) | |
| T.A. Carman | .... | boom operator (uncredited) | |
Special Effects by | |||
| Jack Cosgrove | .... | special effects | |
Visual Effects by | |||
| Clarence Slifer | .... | special effects cinematographer (uncredited) | |
Camera and Electrical Department | |||
| W. Howard Greene | .... | photographer | |
| Robert Carney | .... | associate photographer (uncredited) | |
| Wilfred M. Cline | .... | associate photographer (uncredited) | |
| Nelson Cordes | .... | assistant camera (uncredited) | |
| Don Dickey | .... | grip (uncredited) | |
| Frank Leavitt | .... | grip (uncredited) | |
| Oran McPherson | .... | electrician (uncredited) | |
| Morris Rosen | .... | electrician (uncredited) | |
Costume and Wardrobe Department | |||
| Bill Bowman | .... | wardrobe (uncredited) | |
| Jeannette Couget | .... | costume maker (uncredited) | |
Music Department | |||
| R.H. Bassett | .... | orchestrator (uncredited) | |
| Hugo Friedhofer | .... | orchestrator (uncredited) | |
| Bernhard Kaun | .... | orchestrator (uncredited) | |
| George Parrish | .... | orchestrator (uncredited) | |
| Edward B. Powell | .... | orchestrator (uncredited) | |
Other crew | |||
| Willis Goldbeck | .... | assistant to producer | |
| Natalie Kalmus | .... | technicolor color supervisor | |
| Harold Rosson | .... | photographic advisor | |
| Joshua Logan | .... | dialogue director (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb USA section | Add this title to MyMovies |
Early Technicolor, subdued and with shadows playing over the wide stretches of sand and silk (Dietrich's wide array of costumes), is the real star of this desert opus that should fascinate any student of cinematography interested in exploring David O. Selznick's use of color a few years before GONE WITH THE WIND.
MARLENE DIETRICH strikes some awesome poses and looks stunning in all of her close-ups and CHARLES BOYER is a suitably romantic figure as he copes with a secret unknown to her--he's a man hiding his past as a monk. She's searching for true love after a girlhood devoted to her sick father and Boyer seems to be the living embodiment of her ideal.
It's all so unreal and yet it's hard to turn away from the gorgeous colors and not be drawn into the story. When things get too dull, there's always Basil Rathbone, Joseph Schildkraut and C. Aubrey Smith in the supporting cast to bring some added color to the tale.
It's Technicolor heaven for Dietrich's fans and to top it all there's a nice Max Steiner score in the background. None of it can be taken seriously but it has its compensations from a visual standpoint.