Film Review: The Thief of Bagdad (1940)

Film technology never experienced such rapid and far-reaching progress like in the period between mid 1920s and late 1930s. Nothing can illustrate such achievement than The Thief of Bagdad, 1924 epic fantasy adventure and one of the greatest films of the silent era, when it is compared with its eponymous 1940 British remake which provided audience not only with sound but also with colour.

Like its predecessor, new film uses motives of Arabian Nights and has the plot set in Middle East during first centuries of Islamic era. Ahmad (played by John Justin) is young ruler of Baghdad (spelled “Bagdad” in the film, just like the original) who has became bored of his sheltered palace life and wants to experience life of his ordinary subjects. This is opportunity seized by his vizier, evil sorcerer Jaffar (played by Conrad Veidt). He tricks Ahmad into leaving palace, than have him arrested as “madman” and sentenced to die for impersonating rightful ruler. Thankfully for Ahmand, his dungeon cell is shared by Abu (played by Sabu), young and resourceful thief who managed to steal cell keys. Ahmad and Abu escape to Basra from where they would try to seek new life as seafaring adventurers. Ahmad, however, is smitten with the Princess (played by June Duprez), daughter of toy-obsessed local sultan (played by Miles Malleson, co-writer of the film). Because of that, both Ahmad and Abu stay in Basra just as Jaffar arrives in order to take power and Princess. Angry that both of them endanger his plan, Jaffar casts a spell that would blind Ahmad and turn Abu into a dog. However, once the spell is lifted, Abu will help Ahmad and Princess and, along the way, set free giant Djinn (played by Rex Ingram) would grant him three wishes in return.

Film historians like to compare Thief of Bagdad with The Wizard of Oz. Both films were extremely expensive and among the most technically demanding of its era. They were both works of many different directors instead of one. Thief had three – German Jewish immigrant Ludwig Berger (who was quietly set aside during production); Michael Powell (who would later, together with Emeric Pressburger, create some of British cinema classics) and Tim Whelan. The real force behind the film was Alexander Korda, Hungarian immigrant who in 1930s created small film empire in Britain, creating expensive, ambitious and high quality production, thus creating reputation of a film mogul that could have given his Hollywood peers run for his money. Thief of Bagdad was made with clear intention to show Korda’s financial resources, but also new technical achievements. Those included not only sound and colour, but also innovative special effects, including blue screen, a technique that was first used here only to become standard for next few decades. Korda was impressed with 1924 silent film and worked hard to secure adaptation rights from its producer and main star Douglas Fairbanks (who, sadly, died few months before premiere). But he also wisely decided not to make a carbon copy of that film. Scriptwriters Malleson and Lajos Biro have strayed a lot from the source, most notably by splitting the protagonist into two different characters – prince, played by John Justin, actor who could pass as poor man’s Errol Flynn and Sabu, Indian teenager who became major international star thanks to his role in Korda’s 1938 film The Drum.

The most important difference was, however, in 1940 relying less on physicality and charm of the main star. The viewers were instead to be charmed by bright colours of Oscar-awarded George Perinal, superb production design that brought ancient Baghdad and exotic Asian temples to life as well as images of flying horse and flying carpets. Script also, taking the cue from its ancient source, used flashback as narrative technique, cleverly enchanting audience with story which is both simple yet exotic, providing nearly-perfect blend of romance, adventure and humour. Korda’s achievement is even more impressive, considering that production took place during Second World War and that he literally had to move it from Britain to USA because of German bombing (which, actually, served film well, because he could use locations of Grand Canyon and Arizona desert for some of the more impressive scenes in the latter parts of the film).

The Thief of Bagdad is very good film, but it is far from perfect. John Justin looks the part and acts reasonably well, but his athletic and swordfighting skills leave much to be desired. June Duprez, British actress who was relatively unknown at time and was cast only as replacement for Vivien Leigh, looks the part of the princess, but her character is too passive and she develops proper chemistry with Justin relatively late in the film. Those flaws are, however, compensated with the rest of the cast. Young Sabu, who, just like Fairbanks in silent version, appears half-naked for almost entire film, delivers a lot of charm and wit. African American actor Rex Ingram is great in role of Djinn, character which is both frightening and funny, and his interaction with Sabu is effective even without impressive use of special effects. Conrad Veidt, famous German actor (who, among other things, starred in Cabinet of Dr. Caligari) who escaped Nazi regime, is very effective in the role of sinister yet charismatic villain. According to Christopher Lee, Veidt’s performance in Thief of Bagdad was so powerful that it convinced him to start his own acting career.

Despite less than inspiring soundtrack by Miklos Rozsa and some minor details that give away its age, Thief of Bagdad is still a great fantasy adventure that could be recommended to viewers today.

RATING: 8/10 (+++)

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