In Bagdad, the young and naive Sultan Ahmad is curious about the behavior of his people. The Grand Vizier Jaffar convinces Ahmad to walk through the city disguised as a subject to know his people. Then he seizes the power telling to the inhabitants that Ahmad has died while he sends his army to arrest the Sultan that is thrown into the dungeons and sentenced to death. Ahmad befriends the young thief Abu that helps him to escape from the prison. They flee to Basra and plan to travel abroad with Sinbad. However Ahmad stumbles upon the beautiful princess and they fall in love with each other. But the evil Jaffar has also traveled to Basra to propose to marry the princess. When they see each other, Jaffar uses magic to blind Ahmad and turn Abu into a dog. Is their love doomed? Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Directorial changes, the shifting of production to the US at the outbreak of war and other costly delays and circumstances made the film's budget balloon far beyond original projections. The production became so costly that the American distributor, United Artists, put up additional funds so the film could be completed. See more »
The Sultan of Basra's palace has many decorations in the form of Hindu iconography, which would be found in India, but not in the ancient Middle East. (It was considered "Oriental" enough to pass by a 1940s audience, but stands out for a modern audience.) See more »
How can you be so ungrateful?
Grateful? Slaves are not grateful. Not for their freedom!
See more »
Like the Arabian Nights this film plays with storytelling conventions in order to make us feel that there's plot, plot and more plot: it opens with what appears to be the frame device of a blind man telling the story of his life, then plunges into a flashback which takes us right up to the blind man's present, where we discover that about half of the story is yet to come. (It must be admitted that the second half doesn't quite live up to the promise of the first.) Like the Arabian Nights it tries to cram as many Middle-Eastern folk motiffs as possible into the one work. A freed genie, a beautiful princess, a flying carpet, fantastic mechanical toys, sea voyages, a crowded marketplace, a wicked vizier, jewels ... I don't know why it all works, but it does. Everything is just so beautiful. The sets are beautiful. June Duprez is beautiful. Rozsa's score is especially beautiful. As usual, it sounds Hungarian; but somehow he manages to convince us that he's being Hungarian in a Persian way.
50 of 58 people found this review helpful.
Was this review helpful to you?