Prince Ahmad is the rightful King of Bagdad but he has been blinded and cast out as a beggar. Now a captive of the wicked Grand Vizier Jaffar he is cast into a dungeon where he meets Abu, the best thief in all Bagdad. Together they escape and set about a series of adventures that involve a Djinni in a bottle, a mechanical flying horse, an all-seeing magic jewel, a flying carpet and a beautiful princess. Written by
Steve Crook <firstname.lastname@example.org>
Dwarfing anything ever seen...a mountainous Genie piercing the clouds...flying horses winging over Jewelled cities...a magic carpet that spans the world like the swiftest bird. (original poster) See more »
Douglas Fairbanks actually owned the rights to the title of the film, which had been one of his biggest hits when he made The Thief of Bagdad (1924). When Alexander Korda settled on producing an epic version of one of the Thousand-and-One-Nights Tales, he found the popularity and draw of Fairbanks's original title irresistible. In a 1938 banquet at the Savoy Hotel in London, Korda made sure he was seated next to Fairbanks and negotiated the rights to the film over dinner. See more »
When the third wish is made and Ahmad disappears, the All-Seeing Eye which was in Abu's hands disappears as he searches for Ahmad. See more »
How can you be so ungrateful?
Grateful? Slaves are not grateful. Not for their freedom!
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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.
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