An American gangster is exiled from the United States for criminal activity and is sent back to the Greek island where he was born. Once on the island, he is watched by a corrupt local ... See full summary »
An American scientist is sent to Red China to steal the formula for a newly developed agricultural enzyme. What he is not told by his bosses is that a micro-sized bomb has been planted in ... See full summary »
In 1944, Capt. Josiah J. Newman is the doctor in charge of Ward 7, the neuropsychiatric ward, at an Army Air Corps hospital in Arizona. The hospital is under-resourced and Newman scrounges ... See full summary »
Professor David Pollock is an expert in ancient Arabic hieroglyphics. A Middle Eastern Prime Minister convinces Pollock to infiltrate the organization of a man named Beshraavi, who is involved in a plot against the Prime Minister. The nature of the plot is believed to be found in a hieroglyphic code. Beshraavi's mistress, Yasmin Azir is a mystery intertwined in the plot. Pollock needs her help, but when she repeatedly seems to double cross him in one escapade after another, he can't decide on whose side she is working. Ultimately working together, Pollock and Yasmin decipher the plot and set out to stop an assassination of the Prime Minister. Written by
E.W. DesMarais <email@example.com>
The "Pierre Marton" who is part-credited with the screenplay is, in fact, Peter Stone, who had scripted Stanley Donen's previous film, "Charade". He was to use this pseudonym twice more in his career. "Marton" was the surname of his stepfather, George Marton, whilst the French word "pierre" can be either a name, meaning "Peter", or a noun, meaning "stone". See more »
There is no reference to the movie's title, "Arabesque". The references are all to the original book's title, which was "The Cipher". See more »
As long as you needed someone to sit down and work, I was your man. But the situation has changed somewhat. What you need now is someone with a Ph. D. in rough-house.
I did warn you that it might become dangerous.
Well, dangerous, sir, not lethal.
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If I had the impossible task of naming one film as "My Favorite Most Enjoyable Movie" this and it's bookend, "Charade," would be it.
It is Stanley Donen's near perfect blend of Alfred Hitchcock meets James Bond. Donen made two simply wonderful films in the Hitchcock mold. The first was Charade in 1963 with Cary Grant and Audrey Hepburn. Arabesque is the second. They make a marvelous bookend set.
Both films are light, breezy and loaded with wit and humorous dialog. Both feature classic Henry Mancini scores, stylish female ward-robing by the likes of Givenchy and Christian Dior and both feature memorable titles by 007's legendary title master, Maurice Binder.
But it's Arabesque's wildly inventive cinematography which sets it apart from virtually every other action film. The cinematography is pure art school. It's amazingly inventive use of reflection and shot within a shot camera work is what first interested me in the art of cinematography as a teenager. The cinematography in Arabesque fascinates me and entertains me no end to this day.
Gregory Peck's square yet hip college professor plays perfectly with Sophia Loren's chic spy - and Sophia was never more flat-out stunning. Wow! Check out Arabesque. It's two hours of great fun.
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