pointyfilippa The movie runs out of plot and jokes well before the end of a two-hour running time, long for a light comedy.

Derry Herrera Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

Stephanie There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

richard-1787 This is one of the early Technicolor movies. And it must be said: some of the scenes, especially those in the desert, are astoundingly beautiful. It must have left its original audiences back in 1936, accustomed to seeing black and white in the theater, literally breathless. Few movies since have been so beautiful to look at.And then there's the plot. It's pure melodrama, of a sort that was largely out of style even by 1936. The two leads, Charles Boyer and the unbelievably beautiful Marlene Dietrich, speak in a sort of breathless prose-poetry. But the story is simply of no interest. WHY must a man choose between faith and carnal/romantic love? It must be said, though: Technicolor makes Dietrich appear in literally a whole new light. In her previous, b&w movies, she often looked very beautiful but very cold. Here, where we see her beautiful blue eyes, her red hair, and her radiant skin, she looks young and warm, very human. And, as in her wedding ceremony, beautiful past all imagining.So, this movie offers a feast for the eyes. But the plot is really a waste of time.

Marcin Kukuczka "Sunshine all the time makes a desert." (an Arab proverb).A viewpoint that great visuals and skillful performances are enough to turn even a dull screenplay into an entertaining motion picture seems too much simplified. However, in some instances, such perspective occurs to make sense. Seldom may it occur as relevant as in THE GARDEN OF ALLAH directed by Richard Boleslawski and produced by David O. Selznick. The strengths of the movie do not lie in clever storyline but in amazing camera and lighting work as well as performances. As one of the first three strip Technicolor films after BECKY SHARP and long before THE WIZARD OF OZ, the colors of THE GARDEN OF ALLAH have much to boast of. In many of its scenes attempted at purely visual experience, the aesthetic impressions are in no way dated. Clarence Slifer, collaborating with other artistically innovative people, does a wonderful job. Just to note the effective use of red (one of the most beloved colors in the period of color experimentation) symbolizing the land of fire and desire where the protagonists' destinies meet, the shots of the desert as backdrop with persons and caravans in silhouettes as well as the interiors. The elaborate visuals are particularly memorable in a little scene of Domina and Father Roubier when he tries to warn her against the man she loves. Consider the particular detail as she leaves the sacristy. Besides the cinematographic pearls of location shots and camera work, what strongly contributes to the memorable impressions are costumes by Jeannette Couget and music by Max Steiner (in particular the use of Schubert's "Ave Maria" and the atmospheric song "No One But God and I Know What is in My Heart"). But let me now develop, perhaps, the most striking feature of the film – performances, which I am not going to divide into main roles and supporting characters since this is one of the movies of the 1930s which cannot be treated as 'a vehicle' for Marlene Dietrich solely. Single individuals deserve unique praise for making the hardly believable content still communicative.Marlene Dietrich, freed from the guidance of her tutor Josef Von Sternberg) portrays a character whose mind and dreams are occupied by the search for happiness, for finding herself. As a young, beautiful actress with subtle presence on the screen and girlish movements she is nothing but outstanding. The effect of her screen presence is, of course, multiplied by the use of colors and a number of costumes she wears. Ms Dietrich reminds me a lot of her earlier role (also away from Sternberg) in THE SONG OF SONGS. However, she is not Garbo who proved to be 'a queen on her own' preferring to be left alone to go on with her lines and cooperation with the camera. Dietrich was more generous with her co-stars. Consequently, Ms Dietrich cannot be considered fully without her leading men. And one is truly captivating. That is... Charles Boyer. Although his character lacks logical sense of his motifs and may be less communicative with audiences, he proves unbelievable acting skills. His performance is filled with extravaganza, rebellious attitude, self-imposed, almost blasphemous ignorance of the hard past, neurotic struggle for materializing his inner desires. It is all a great insight into the tormented, almost tortured character who does not seek refuge in loneliness but in the arms of a woman. Having experienced the extreme silence and hermit-like life as a Trappist monk, his tortured soul strives for passions (to fulfill them) and the fire of lust (to extinguish it). While Ms Dietrich's scene is the memorable finale (after she received the harsh test she prayed for), his moment is the speech scene when teary eyes and sweaty forehead manifest the most inner struggles. Although it does not necessarily work so logically, the moment is worth seeing thanks to his compelling performance. Even the liqueur would not taste that good... Although Boyer worked with the various female stars of the time, including Garbo and Bette Davis, there is a strong chemistry between him and Marlene Dietrich. Their scenes are sweet, fussy and overly sensitive but worth seeing. The finale is also something of a genius collaboration of the leading protagonists. Joy, tears, smile evoke.Joseph Schildkraut has particularly witty and charming moments as Batouch, a sort of character no one will be after but everyone will like. C. Aubrey Smith with his specific strength and rhetoric in his performances crafts the role of Father memorably. I particularly sympathized with his sweet dog that seems to perceive sometimes more than humans do. Basil Rathbone carries the restrain and appeal as Count Andreoni. Apart from them, there are two of the cast who, though given just a minimum time on the screen, and yet appear to be truly memorable: John Carradine as a seer who, in a haunting moment, foretells Domina's future and Tilly Losch as a dancer who, in her Salome-like lustful crush, provides the movie with one of the most erotic sequences ever found in motion picture. And finally, who contributes to the entertainment and mood are great extras who speak gibberish in the backdrop.But who is in the lead? No one so much as the title garden of Allah itself with its endless attraction and cleanliness of catharsis, with its oases of fresh water and the heat of vast loneliness where you can hear the whisper of your inner self, the desert.All is touched by the search of happiness that the protagonists struggle to find. The desert seems to be a perfect place for that target and yet...do they find it? The unforgettable finale seems to answer this question where the religious and the secular, where purity and desire reach the heights of their mutual, though fairy tale, collaboration. But if you seek something thought provoking, search for it elsewhere...enjoy the visuals and performances offered by THE GARDEN OF ALLAH.

tentender As a great admirer of Marlene Dietrich, I had to (finally) watch this very, very dull picture. It is Miss Dietrich's first color film, and the world's most beautiful blond is a redhead! Bad start. The story is a tremendous bore, involving a subject which itself bores bores me stiff: religious guilt. (Who needs it???) Suffice it to say, perhaps, that of all Dietrich's films (and I have seen most, including "Pittsburgh") this is the only one where even her performance is barely worth watching. The color photography is OK (this is a very early Technicolor release), but to no purpose. Ridiculous casting: C. Aubrey Smith, Basil Rathbone (enough said?). The only thing of any interest at all is John Carradine's outlandish caricature of a performance as "The Sand Diviner," who foretells all that will happen. The supposed "happy ending" is one of the most depressing ever conceived. Yet another example of David O. Selznick's highly inflated reputation (did he ever make a really good film? -- other than That One?) And, for one final annoyance, the soundtrack of the MGM DVD is a mess, with volume levels seemingly randomized. Highly unrecommended.

dglink Despite ravishing color photography and a sterling cast, David O. Selznick's production of "The Garden of Allah" is badly dated. A Trappist monk abandons his vows and leaves the monastery with the recipe for a unique liquor, only to fall for a convent-bred beauty with deep religious convictions who is seeking the meaning of life in the desert. When monasteries attract the likes of young Charles Boyer and convents produce women with porcelain complexions like Marlene Dietrich, religion may experience renewed popularity.Set in North Africa as conceived by Selznick's fanciful art directors, Dietrich shimmers in flowing gowns and floats through a postcard-perfect desert. Her elegant silhouette is outlined against deep crimson sunsets that presage the indelible image of Scarlett O'Hara in "Gone with the Wind." If the preposterous story were half as captivating as the visuals, the film would be riveting. Unfortunately, modern viewers may giggle at the melodrama and hokey motivations. Both Dietrich and Boyer have done better and seem to be in a trance throughout. Staring fixedly into space stands in for spiritual conflict, and only the dependable Basil Rathbone cuts through the nonsense. Although the film runs less than 80 minutes, it seems at times to be tedious and interminable. Perhaps Dietrich's best director, Josef von Sternberg, could have conjured a classic from this cast and crew, but Richard Boleslawski's resume is thin and undistinguished. Possibly Boleslawski fell in love with his stars, because the camera lingers on the perfectly lit faces of both Boyer and Dietrich. Maybe the director knew that the plot and dialog were weak and hoped that the lush photography and the charisma of his leads would carry the film.Despite the visual feast, "The Garden of Allah" will appeal to few beyond die-hard Dietrich and Boyer fans. Others may squirm, smirk, and make smart asides to the screen. If "Mystery Science Theater 3000" broke beyond the science-fiction genre, Tom Servo and the bots could really work this one over.