Back in the 1940s, Jon Hall and Maria Montez carved out their own little niche in cinema by teaming up for a handful of nifty fantasy and action adventure films (Arabian Nights (Universal Cinema Classics), WHITE SAVAGE, COBRA WOMAN, etc.), these under the Universal Pictures banner and featuring elements of sword, sand, and sandal. ALI BABA AND THE FORTY THIEVES, coming out in 1944, simply exudes this aroma of "remember when" and showcases Jon Hall at his most dashing and Maria Montez's lovely exotic looks. We just won't talk about her acting.Interestingly, the film does away with the traditional magical trappings (excepting one enchanted phrase) and instead places this story in actual historical context, sometime in the 13th century. Driven back by the conquering Hugalu Khan's swarming Mongol hordes, the Caliph of Baghdad and his child Ali suffer the foulest of betrayals. The Caliph loses his life in an ambush, but the boy Ali slips away and goes into hiding. Stumbling in the desert, Ali meets and comes under the protection of forty far-ranging thieves. In the thieves' cavernous hideaway den, Ali Baba grows to young adulthood, at which time he sets out to overthrow Hugalu Khan and regain freedom for his people and also, in his spare moments, maybe win the heart of a beautiful princess (who, by the way, is bethrothed to the Khan).
There's a warm place in my heart for these spirited old-fashioned adventures on the big screen, stuff that I used to thrill to as a hyper kid on those lazy Sunday afternoons. In watching Hall and Montez's films the audience came to nurse a certain threshhold of expectation. The acting came and went, with Jon Hall mostly serviceable as the male lead, and I don't know that these two demonstrated that much of a spark together, despite the flowery dialogue ("Strange are the fortunes of war which placed a thief beside the Khan's beloved."). But, somehow, Universal kept pairing them up in these things, and it worked. ALI BABA AND THE FORTY THIEVES belongs to that era when rugged horse-riding thieves sang songs and no one made fun, and the rousing score rose to a crescendo every fifteen minutes or so. There were the colorful exotic costumes and the fancy stilted script and the promise of high adventure in far away places. The sword, the sand, the sandals. As a kid I loved the derring-do in the desert, the sword fight clashes, the daring rescue at the market place, and that old Trojan Horse trick. I hissed at the despicable villains and even had a soft touch for the corny romance, of which origins spooled back to Ali's early youth and the pledge he made to a young princess. Back when I saw this decades ago, even comedy relief Andy Devine seemed to blend in as Abdullah, one of Ali Baba's stalwart thieves, although, nowadays, it's a bit jarring, hearing Devine's distinctive catchy-croaky-drawly voice trying to do justice to lines like "Me, Abdullah? The Terror of Bagdad, nurse to a whimpering infant?" It's also kinda funny that Ali's henchmen tend to pronounce his name closer to "Ollie" than "Ali."
But, mostly, I look at this movie now, thru old decrepit eyeballs, and I brush aside the flaws. Mostly, I remember the fluttering crimson kafiyas and powder blue robes of the forty thieves and the ringing cries of "Open, oh sesame!" as they once more seek sanctuary inside that treasure-laden cave. Hall and Montez's movies never attained the heights of The Thief of Bagdad Criterion Collection or The Adventures of Robin Hood (Two-Disc Special Edition), but neither were they meant to. New generations of viewers will look at ALI BABA AND THE FORTY THIEVES and may dismiss it as nothing more than a dusty old cinematic relic. For me, though, it's a savory cup of nostalgia and the memories it jolts back remind me of just how good I had it when I was a kid.
The evil leader of the Mongol Horde, the Haluga Khan (Kurt Katch) overruns Baghdad with the aid of Prince Cassim (Frank Puglia). The good Caliph (Moroni Olsen) is killed but his son Ali (protrayed later in adulthood by Jon Hall) escapes to find the secret cave of the 40 theives. He is immediately taken in by Al Baba, the older, who adopts Ali, hence the name Ali Baba. 10 years later, enter the Lady Amara (the beautiful Maria Montez). Ali falls in love with her thinking her only a slave girl. Meanwhile, Amara'a father, Prince Cassim, has offered Khan the lovely lady's hand in a political marriage. Ali Baba, now leader of the 40 thieves is determined to free the Lady Amara and drive the evil Khan from Baghdad.
We see some incredible horsemanship from the 40 thieves as they ride through the streets of Baghdad at breakneck speed. We also see that these are singing thieves as their song proclaims they steal from the rich and give to the poor. We get dancing mongols waving sabers and a great sword fight between the thieves and the mongols. Humor is supplied by Andy Devine as Abdullah, 1 of the thieves.
There is some mild violence, no gore or graphic violence so a little parental guidance is probably needed for kids under 7 but kids 7 to 13 should enjoy this film very much. Parents too!
High recommendation for: families with kids, grownup kids, movie fans, Maria Montez and Jon Hall fans, and anyone looking for a little good old escapism. This is really good Universal classic film.
Buy Ali Baba and the Forty Thieves Now
(Action/Adventure, 1 hr 27 min, Technicolor) Universal U.S.A.DIRECTOR: Arthur Lubin
CAST: Scotty Beckett, Turhan Bey, Andy Devine, Jon Hall, Frank Puglia, Kurt Katch, Maria Montez (As: Amara)
COMMENTS: This Arabian Nights fantasy follows the exploits of the Caliph of Baghdad's son, who runs off into the desert after his father is killed by raiding Mongols.
There he encounters the legendary 40 thieves and watches in amazement as their command, "Open Sesame," magically parts a solid rock wall, revealing a cavernous hiding place filled with treasures.
He is adopted by the thieves, dubbed "Ali Baba," and grows up to be their leader. As an adult, Ali sets out to avenge his father's death and to free his land from the reigning Mongols.
The film is set in the ancient Middle East. Maria Montez stars as Amara, a Baghdad beauty, who is one of the main reasons of the fight between the Mongol Khan Hulagu and Ali Baba.
In this time, Maria demonstrated that she will never accept to do scenes or scene parts against her will. For instance, the director Arthur Lubin tried to convince her of appearing naked inside of a pool, the problem was solved when Lubin accepted to put her in a bubble bath.
Before beginning working in the most popular and commercial movie of its time, Maria said to the media: "According to my horoscope, the name I will have in this movie will not augur me success."
The producers thought Montez wanted to change the name they assigned her and they allowed her to do so.
The actress Miriam Colón, from Puerto Rico, appeared in this film, but she was not credited in the cast.
Read Best Reviews of Ali Baba and the Forty Thieves Here
Hopefully Universal will do an official, remastered release of this title soon (let's hope "Arabian Nights" sells!). Until then, this is a very nice transfer of an un-restored but very clean Technicolor print. Missing only the open and closing titles (and Sabu, who is listed on the cover art and does NOT appear in the film!), this is a well-crafted piece of escapist adventure, with Maria Montez in full Technicolor bloom (and giving what is for her an above-average performance). Snappy direction and an able supporting cast made this a delightful purchase. Now, Universal, how about "Cobra Woman"...Want Ali Baba and the Forty Thieves Discount?
"OPEN, OH, SESAME"the tales of the arabian knights, the stories of Ali Baba, the beauty of
Maria Montez, this was a motion picture that i first saw in the 1960's.
along with a double bill of Arabian Knights, or something like that, also
starring Jon Hall. Jon Hall, famous for "Ramar, of the Jungle", so i'm
an eclectic collector. i know what i like, and what i enjoy.
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