Griff Lees Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Payno I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Marva-nova Amazing worth wacthing. So good. Biased but well made with many good points.

Jerrie It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

calvinnme Amara (Yvette Duguay) and Ali (Scotty Beckett) exchange blood as children, to symbolize their love. They are separated, and Alis' father, Caliph of Baghdad, is murdered. Ali gets away, finds the Forty Thieves' lair, and falls asleep. He is discovered, but allowed to live. Ten years go by. Ali (Hall) finds Amara (Montez) bathing. The delirious plot goes from there, making brief stops in the land of operetta and mis-choreographed musical numbers.The person in charge of Technicolor went wild in this film. The characters' clothes are color coordinated with their surroundings (the escaped prince is wearing pink and white--the boulders surrounding him are white and pink, etc). There is one main castle--it changes color depending on whether it's day or night, and according to what colors Montez is wearing. The insides of the castle change color from shot to shot, from green to beige to pink. William Fritzsche, Universal's Associate Technicolor consultant, created a dream world where the sky can be green (literally) and anything can happen.The actors' looks are more important than their performances. Jon Hall is predictably heroic and dim. Maria Montez is drop dead gorgeous; her accent is thicker than usual, and she rolls her r's for some reason, making it hard to guess what some of her lines are. Turhan Bey is good in a bad guy/good guy role. Andy Devine has a relatively small role, so he doesn't do much damage.This blissfully silly romp is worth seeking out.

MartinHafer Universal Studios made some interesting films in the early to mid 1940s. Interesting because the films were like a merger between A and B-movies. They were like A-budget films because the sets were amazing for the time and they were often shot in gloriously garish Technicolor--making the films very bright and bigger than life. But, in an interesting move, the studio also placed B-movie quality actors and writing in the films. While this makes the films less than sophisticated, it also made them wonderful campy entertainment--the sort of thing that kids loved at the time and parents could also enjoy.This is yet another pairing of hunky Jon Hall (who looked sort of like Errol Flynn and Howard Keel) and Maria Montez--an odd woman to pair with Hall because of her very thick accent. In fact, in this film, set in Baghdad, it's awfully strange to see the red-headed Montez and notice that she sounds nothing like anyone else in the film--not that any of them really seemed the least big like Iraqis. And, when it came to the Mongols, they, too, didn't seem particularly Mongolian. Whereas nowadays this would be a major deficit, at the time this sort of bizarro casting was the norm--so I'll cut them a bit of slack here.The film is a major re-working (i.e., complete re-write) of the classic tale of Ali Baba. The film finds the young Ali Baba (Jon Hall) an orphan after his father, the Caliph, is betrayed and murdered by his best friend. Ali's goal is revenge, but he's without much means AND he's in love with the betrayer's hot daughter (Montez). Ultimately, you KNOW that he'll both get the girl and see the scumbag die--as well as the villainous Mongols who took over his beloved land. But, how all this plays out is much of the fun.As I said, this is NOT sophisticated. The dialog, at times, is pack full of clichés and the casting is odd--with Montez and Andy Divine (of all people) in the film. About the only one who looks right in the film is a young Turhan Bey--who actually looks like he could be an Iraqi. But, the action is nice, the sets amazing and the look of the film quite fairy tale-like. Wonderful Saturday morning fun. A must-see for those who like this sort of thing (like me), though when seen today many might laugh at some parts of the film.

MARIO GAUCI The Alexander Korda production of THE THIEF OF BAGDAD (1940) - still the quintessential Arabian Nights movie - led to a spate of colorful romps made by Hollywood studios to escape the grim everyday realities of WWII; this may not be the best or even the most enjoyable of the lot but is reasonably representative of this fantasy sub-genre.Actually, I had intended to watch this over last year's Christmas period as it was shown on Italian TV very early one morning but the transmission started even earlier than expected and consequently I had to abort the viewing; therefore, I am grateful that (in spite of some deficiencies which I'll get to later) I remedied this through a copy of the Asian DVD I've just gotten hold of.The film obviously deals with the famous tale of the title but here Ali Baba (Jon Hall) is the son of a deposed (and subsequently murdered) Caliph who as a boy (played by Scotty Beckett) found refuge in the thieves' hide-out inside the cave and was raised by their leader (Fortunio Bonanova) as his own son. Meanwhile, Ali's childhood friend grows up to be Maria Montez and is naturally coveted by the evil tyrant now in power at Bagdad (Kurt Katch). Andy Devine is also on hand to provide some mild comic relief as Baba's "nursemaid" and Turhan Bey (like Hall and Montez, also a regular in such diversions) is Montez's only male slave and sympathetic to Ali's cause.As I said, the film is fairly entertaining and, as can be expected from a grade-A Universal production, handsomely mounted but it mainly survives nowadays on its high quotient of nostalgia both to people of my father's generation (who were around when this subgenre was still in full bloom) and to others who, like me, grew up on these things when they played during the summer holidays on TV. To get back to the presentation of the film on the disc I watched: while the all-important colors were not as vibrant as a full-blown restoration job would have made them look, the print was serviceable all around...were it not for the very odd fact that it omitted the opening and closing credits completely! In any case, this satisfactory viewing has brought back fond childhood memories of similar costume pictures and has certainly whetted my appetite for more; I also received a bunch of Sinbad pictures at the same time that this disc arrived and I ought to purchase the recently released DVD of ARABIAN NIGHTS (1942) one of these days - although, frankly, I think Universal missed the boat when they didn't release it as part of an Arabian Nights franchise collection which could have also included, apart from ALI BABA AND THE FORTY THIEVES itself, any of the following: BAGDAD (1949), THE DESERT HAWK (1950), FLAME OF ARABY (1951), THE PRINCE WHO WAS A THIEF (1951) and SON OF ALI BABA (1952). This is not to mention many other such extravaganzas made by other film studios which are still unreleased on DVD like ONE THOUSAND AND ONE NIGHTS (1945), SINBAD THE SAILOR (1947), THIEF OF DAMASCUS (1952), SON OF SINBAD (1955), THE THIEF OF BAGDAD (1961; an Italian remake with Steve Reeves supervised by ALI BABA helmer, Arthur Lubin), THE WONDERS OF ALADDIN (1961; another Italian production which utilized the now legendary and multi-faceted talents of Mario Bava), etc. One final thing: I once missed out on a TV screening of the 1954 French version of ALI BABA AND THE FORTY THIEVES starring Fernandel and directed by Jacques Becker and, even though it doesn't have much of a reputation (especially within its director's considerable canon), I'd love to watch it for myself one day...

sharkey197 I first saw this movie as a child when it ran every night for a week (and extras on the weekend) on something called Million Dollar MOvie that used to show the same film all week. I watched it over and over until I had the script practically memorized. I was fascinated by the location, the exotic story, the love interest and the gorgeous costumes, even though I originally only saw it in black and white.Years later, I saw it in color, as a full grown adult and realized that this movie is one that can take me instantly back to my childhood, into a wonderful world of a fantastic story that still holds my interest today. With the eyes of the adult, I can see that it's sort of a "B" picture, but it does have really nice production values. Maria Montez is breathtakingly lovely and I adore the fact that she's so tall and statuesque. No skinny little model type, but a real womanly presence. Jon Hall is the perfect leading man. Actually the dialog is rather good, a sort of stylized script that lends itself very well to the story. There is a glaring anachronism in it, which just shows that Hollywood wasn't too concerned with accuracy back then. All the talk of Allah, and they bury Old Babba under a cross! In our world today, when there is so much hatred between the western word and the Muslim countries, it's rather wistful to realize that these characters were all Muslims, even if that word wasn't mentioned. They do refer to Ramadan and Allah and to realize that the country involved is Iraq does give one pause. Isn't it a shame that this lovely ancient world has such an unfortunate connotation today? This movie, for all its flaws, shows the Muslim world in a very good light.I so wish it was available on DVD. I would buy it, if for no other reason than it's one of my childhood films. And besides, I still can practically recite the script!