Arabian Nights (1942)

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

One of the most extraordinary films you will see this year. Take that as you want.

ARABIAN NIGHTS is a rather routine Hollywood adaptation of the Middle Eastern source material, made with a juvenile audience in mind. I guess the film-makers were attempting to distract contemporary audiences from all of the bad stuff going on around the world at the time, hence them making this very 'safe' piece of entertainment.Sadly, ARABIAN NIGHTS is simply too routine to be very entertaining. There's a silly, pantomime feel to the whole thing, a campiness that just wasn't there in other contemporary fare from the era. The film also seems to be a bit miscast in terms of the lead actors. Jon Hall is a dullish hero and Maria Montez, while acceptable, suffers from playing a one-dimensional Scheherazade. The romance stuff is sappy and boring.To my disappointment, there isn't any of the magical/effects type stuff to enjoy here, and nor is there much in the way of action. What we do get are some fun supporting turns from the likes of genre mainstay Sabu (underutilised, unfortunately), Shemp Howard randomly playing a comedic Sinbad, Turhan Bey, Laurel & Hardy comedy actor Billy Gilbert, and Leif Erickson.

This action-packed adventure film is worth a watch, but it is not exactly a memorable film, and the story line suffers - secondary to all of the action taking place. (The basic summary is about a man who ends up getting revenge and banding together with some close friends, including a slave girl who is his love interest.) It is a fun film, and the picture (shot in Technicolour) is beautiful. (Excellent landscapes, colourful costumes, and much more come to life in the vibrant colour that this film was shot in.) If you want to watch something fun that doesn't require much thinking, then this movie won't let you down.5/10

Since I've recently written an article on MARIA MONTEZ, let me quote directly from it to describe this Maria Montez/Jon Hall/Sabu outing:"The fact that she couldn't sing or dance seemed to be no obstacle to Maria since she was brimming with confidence--although aside from voice dubbing, it was later revealed that a dance double was used to perform parts of her routine.With Walter Wanger in charge of its lavish production, she was given "Arabian Nights" ('42), a classic fantasy tale that--fortunately--no one was expected to take seriously. As if to make sure of that, the trio of stars were supported by one of The Three Stooges (Shemp Howard) as Sinbad. Another supporting player in the cast was Turhan Bey who would eventually be promoted to co-starring roles with Montez. The boyish Sabu, no longer under contract to Alexander Korda, proved to be one of the most charming ingredients of the film and played a huge role in the story which had Montez captured by an evil caliph and rescued by Sabu who rides through the desert sands to rescue her.With Montez in filmy silks, gaudy baubles and turbaned headdress looking like a fairy-tale princess and muscular Jon Hall sharing the romantic interludes, audience response was enthusiastic. The lavish production values, exotic settings and personable trio made the tale satisfying for patrons seeking easy-on-the-eye entertainment. Lee Mortimer of the N.Y. Daily Mirror noted: 'After her performance in this opus, Maria Montez climbs several steps in everybody's estimation.'And apparently, the public agreed because it was a huge hit."For pure escapism, you couldn't beat these Maria Montez-Jon Hall films with the accent on adventure and romance in exotic settings and all designed to showcase her Latin beauty. More discriminating viewers noted that the acting was on a grade school level despite the big budget of most of the technicolor films she appeared in.By the way, the article will appear in an upcoming issue of CLASSIC IMAGES.

I remember seeing this film when it appeared in 1942, during WWII, a time of tension and uncertainity. It was great escape. The villains were villainous, the heroes heroic. The drama was dramatic and the storyline warm and fuzzy. Seeing it on video has allowed me to revisit that past time when as a child the world was uncertain and it was possible to escape into a costume-splendoured fantasy where the hero gets the girl, saves the kingdom and justice is served. There's nothing ever wrong with that.