A former theater owner and his crippled daughter live in poverty until a chance encounter with a young pickpocket brings romance for the petty criminal and daughter as well as a chance by ... See full summary »
On the eve of World War II (1939) English officer Ralph Denistoun is in Nazi Germany on an espionage mission to recover a poison gas formula from Prof. Krosigk. He is helped by Lydia and ... See full summary »
Film told in flashbacks of an older man's obsession for a woman who can belong to no-one but can frustrate everyone. The backdrop is SternbergÍs surreal and fantastic Carnaval in Spain. In ... See full summary »
Josef von Sternberg
Edward Everett Horton
When David's father dies, his mother remarries. His new stepfather Murdstone has a mean and cruel view on how to raise a child. When David's mother dies from grief, Murdstone sends David to... See full summary »
Edna May Oliver
Hafiz, a rascally beggar on the periphery of the court of Baghdad, schemes to marry his daughter to royalty and to win the heart of the queen of the castle himself. Written by
Jim Beaver <email@example.com>
The Ginger Rogers film "Lady in the Dark" was in production at Paramount Studios the same time that "Kismet" was prepping. Raoul Pene Du Bois's Mink Costume for Ginger Rogers had been constructed and finished, but the mink 'rug' skirt was too heavy and impractical for wearing. Karinska was "borrowed" from Kismet's production. Karinska completely rebuilt the mink skirt costume which enabled Ginger Rogers to walk and perform in the costume. See more »
Ronald Colman's character eats with his left hand, which is taboo in Arabic culture. See more »
[Referring to Hafiz's daughter, Marsinah]
You think she's going to wither away waiting for your fairy tales to come true?
She's waiting for her fate in all its splendor.
The fate for a beggar's daughter is a camel boy.
See more »
More Arabian Nights stuff, this time emanating from the studio where the lion roared: according to the Internet Movie Database, there are twenty (count 'em) films that go by the name of KISMET and, although the Vincente Minnelli-Howard Keel musical version is the best-known of the lot, this earlier straight adaptation starring Ronald Colman and Marlene Dietrich is perhaps the best-regarded. For the record, I do have the former on VHS but won't have time to catch it just now and, of all the rest, I'm mostly interested in the 1930 German version (there was another one made in Hollywood the same year) which, like the film under review, was directed by William Dieterle! Speaking of which, I don't quite understand the reasoning of Warner Brothers (who have inherited DVD distribution rights to the MGM film library) behind recently releasing the 1955 version on this format on its own (so to speak, since it actually forms part of a Musical Collection) rather than coupled with the earlier version.
Aged 53, Ronald Colman still cuts a strikingly handsome figure (even when dressed as a beggar) and his silvery hairline is amusingly obscured by the most unseemly of turbans for all but one scene in the film's latter stages. Equally splendid-looking is his 43-year old German co-star who, in the film's most celebrated sequence that was, ironically, later cut for TV screenings because of its 'erotic' content(!), has her legs painted in gold for a veiled dance number before the court of evil Grand Vizier Edward Arnold and Colman (who dubs himself the King of Beggars by day but moonlights as a sovereign of a far-away land). Given the maturing age of the two leads, it's no wonder that two younger actors were recruited in the persons of James Craig (as the Caliph of Bagdad who likes to go incognito through the streets of his kingdom as a gardener's son) and the late Joy Page (Colman's secreted daughter); she had made a memorable screen debut in CASABLANCA (1942) and died earlier this year aged 83.
The cast is rounded up by Florence Bates (as Colman's nagging in-law), Harry Davenport (as Craig's wily adviser) and Hugh Herbert (as one of Colman's would-be comic-relief sidekicks). As was to be expected from Hollywood's premier studio, no expense was spared in bringing this opulent costumer to the screen including shooting in eye-filling Technicolor amidst impressively-constructed sets and this effort was rewarded by garnering the film four Academy Award nominations in that year's ceremony although, as had been the case (and would be again) with similar Oriental ventures, the nominees all went home empty-handed!
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