dbdumonteil This very conventional oriental tale takes many characters from "the thousand and one nights " who ,with the exception of Ali Baba whose cave ,should we believe him,is used for the last time ,are not given a single chance to shine (to show their skills): Aladdin talks about his lamp,but this magical thing is no help for the oppressed; Simbad is not a sailor and has no monster to fight against;had Sheherazade been so devoid of imagination,she would not have hold her master's attention for thousand and one nights . Neela even hints at Delilah ,a biblical character ,who does not appear ,all the same.This story is too derivative ,and there are many directors who did more exciting movies with "the thousand and one nights" inexhaustible material.

kevin olzak 1952's "Thief of Damascus" was a Columbia potboiler from producer Sam Katzman, scripted tongue in cheek with quotable lines aplenty. Evil conqueror Khalid (John Sutton) demands the arrest of his best general, Abu Amdar (Paul Henreid), simply for negotiating a treaty of surrender from the Sultan of Damascus, without his consent. With sword fights carefully sped up for the benefit of Henreid's stuntman, we get almost every character associated with the Arabian Nights- Robert Clary as Aladdin (minus lamp), Philip Van Zandt as Ali Baba, Jeff Donnell as the fetching Sheherazade, and Lon Chaney as Sinbad. Add Elena Verdugo as Neela and Helen Gilbert as Princess Zafir, all the girls provide quite a visual treat in color, but in all fairness, Howard Hughes didn't scrimp on the pulchritude when he cast so many beautiful wannabe starlets in his own "Son of Sinbad," casting Vincent Price as Omar Khayyam! (he later confided that it was indeed a very happy set). Speaking of Sinbad, 45 year old Lon Chaney looks both strong and healthy, hugely enjoying his comic sparring with Robert Clary, later on HOGAN'S HEROES, and it's nice to see him again alongside luscious Elena Verdugo, his old co-star from "House of Frankenstein" and "The Frozen Ghost" (her hair almost as long as Patricia Morison's). 'Miss Jeff Donnell,' as she was billed opposite Boris Karloff in her second film, 1942's "The Boogie Man Will Get You," was a longtime mainstay at Columbia, appearing in "The Power of the Whistler," "The Phantom Thief" (Boston Blackie), and "The Unknown" (I LOVE A MYSTERY); still only 29, she's as sexy a Sheherazade as any man could ask for. Too bad Khalid failed to ask.

William Giesin Round up the usual suspects! This Columbia Film Saturday Matinée "B" Sand and Sandle flick features Sinbad (Lon Chaney Jr.), Aladdin (Robert Clary), and Ali Baba (Phillip Zandt) as a supporting cast to a very miscast Paul Henreid. While the film was for the most part entertaining it lacked the ingredients of some of it's more formidable predecessors that featured the likes of Douglas Fairbanks Jr., Sabu, Jon Hall and various other Saturday Matinée icons of a much forgotten "B" "movies are better than ever past". This film was made after Lon Chaney Jr. grew tired of making "Wolfman" movies and demanded more versatile roles from Universal Studios. Consequently, he was released from his contract and wound up in a lot of these Columbia Technicolor wonders. On a personal basis, I had a lot of difficulty in accepting Paul Henreid as a "swashbuckling or sand and sandals" type of hero. I couldn't help the constant interruption of thinking of him as Victor Laszlo in the film "Casablanca", and the stunt double in the action scenes didn't look a bit like him. Another disrupting thought during the viewing was the fact that I kept thinking that many of the outdoor scenes seemed to be filmed at either the old Iverson Ranch or Corraganville (B Western Film Sets). The film uses all the wonderful gimmicks such as the magic door that opens when you say "Open Sessame!", complete with the 40 thieves and glorious Technicolor that make this film palatable. Give it a look for a pleasant visit to a "once upon a time" at the Saturday Matinée.

boblipton Before Roger Corman there were the B movie departments. At Warner Brothers they had Bryan Foy, at Paramount they had the Dollar Bills and at Columbia, which was a B movie Studio for 90% of their productions anyway, they had Sam Katzman.This means, for this flick, occasional A movie intellectual support Paul Henreid, looking as depressed as he did in NOW VOYAGER or CASABLANCA, as an action hero, horror lead Lon Chaney Jr. in support for marquee value.... and the rest of the movie, for some reason, strikes me as having been cast out of a Brooklyn burlesque house: girls from the stage, extras from the audience. Director Will Jason came out of short subjects and directs the whole thing with not too serious an air. The set design looks like the designer went into the prop storehouse, had everyone grab everything they could carry and heaped it all together.The net effect is ridiculous rather than funny, depressing rather than dramatic. Unless you want to see the hordes of the Middle East riding over landscape like American cowboys -- I've no idea who was directing the second unit, but it's clearly cowboys in those pointed helmets, wielding scimitars -- give this one a miss.