The caliph of Baghdad must go into hiding with a group of traveling performers when his brother usurps the throne. Both brothers desire a beautiful dancing girl, who is torn between power and true love.
Dozens of star and character-actor cameos and a message about the Variety Club (show-business charity) are woven into a framework about two hopeful young ladies who come to Hollywood, ... See full summary »
Olga San Juan,
Deerslayer, a white man who was brought up by the Mohicans, helps his old tribe when the Hurons steal Princess Wah Tah, the betrothed of his friend Jingo-Good. His friends, the Hutters, are... See full summary »
The camp classic drama that catapulted De Carlo into stardom. During the Austrian-Prussian war, Anna Marie (De Carlo) is a dancer who is forced to flee her country after she is accused of being a spy. She ends up in a lawless western town in Arizona, where she uses her charms and dancing skills to transform herself into "Salome" during her dance routines. She makes such an impact on the town, eventually taming it, that they re-name the town "Salome, Where She Danced." Later on, she moves to San Francisco, where she meets a wealthy Russian man, seduces him, and has him build her her own opera house to perform in. Anna Marie spends her life manipulating one man after another to get what she wants, and they fall fall for her.Written by
Yvonne De Carlo's feature career gets off with a resounding clunk
This movie is just plain bad; no story to speak of, hard to follow, no clear direction to the script or continuity. I've seen it, and I'm not sure what happens in it, except a lot of nothing. Yvonne De Carlo had appeared in shorts and small parts before this, and was a good bet to star in a feature owing to her striking beauty and vampish charm. But "Salome Where She Danced" is an embarrassing mediocrity and is certainly not "bad"in the entertaining sense of Ed Wood or others on Hollywood's third-tier. As a Universal Picture, this is actually a thoroughly failed first or second tier production, and all of its slickness and artificiality does not conceal the glaring reality that it has nothing going for it. It is not "colorized;" it's in genuine Technicolor,though even the handling of the color is flat and undynamic -- sand is light brown, and one comes away with the impression that there is an awful lot of sand in the film, and perhaps a tumbleweed or two. De Carlo struggles valiantly with this bottom-drawer material only to achieve the status of being the best thing about a movie that has nothing to offer on its own, and even that distinction is a stretch. She is lucky to have survived this feature, as other potential stars have had their careers sunk by far less than this.
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