Produced by Alexander Korda, directed by Michael Powell, Ludwig Berger, and Tim Whelan, and screenplay Miles Malleson from a story by Miklos Rozsa and an idea by Lajos Biro, The Thief of Bagdad is the story of a prince who teams up with a scrappy thief in reclaiming his throne after being casted out. The film is a fantasy film that is told in a reflective manner as a prince tries to deal with his situation. Starring Conrad Veidt, Sabu, June Duprez, John Justin, Rex Ingram, Miles Malleson, and Morton Selten. The Thief of Bagdad is a glorious and enchanting film from Alexander Korda.
The film is partially a reflective story of a blind prince who had been dethroned by a royal official in the Grand Vizier named Jaffar (Conrad Veidt) as he is aided by a young thief who wants to help him realizing the severity of the situation. It’s a fantasy-adventure film that follows two men who find themselves in a situation where the prince goes blind and the thief briefly turns into a dog all due to this man trying to win over a princess who is interested in this prince. Miles Malleson’s screenplay does start off as a back-and-forth narrative in which Prince Ahmad (John Justin) is seen blind begging for anything with a dog at his side where he would tell his story to a group of women including a servant of Jaffar in Hamila (Mary Morris) who realizes what is going on. The first act play into Prince Ahmad becoming concerned with his rule as he is aware of his people not being enamored with them.
Taking Jaffar’s advice by pretending to be a normal citizen, it proves to be a set-u when Prince Ahmad is sent to a dungeon where he meets the thief Abu (Sabu). Abu is a common thief that knows how to get by as he helps Prince Ahmad knowing that he’s really an honorable man. The two would embark on a journey to reclaim Prince Ahmad’s throne but also pursue the elusive princess (June Duprez) whose father is obsessed with mechanical toys which Jaffar would use to win his approval. The film’s third act is about Abu and a journey he would take when he and Prince Ahmad become lost during their pursuit of the princess and Jaffar. Even as he would find a mysterious object that would give him the chance to prove his worth as a person.
The film’s direction under the supervision of its producer Alexander Korda who would do un-credited work along with his brother Zoltan and art director William Cameron Menzies who would both be un-credited for their contributions to the film’s production. Much of the work would be under the direction of Michael Powell, Ludwig Berger, and Tim Whelan with Powell providing much of the material that was filmed mainly on studio sets with some desert scenes shot on Monument Valley, the Grand Canyon, the Painted Desert, and Bryce Canyon in the U.S. While there are some wide shots for the large fantasy scenes and to get a scope of the palaces, it’s the usage of close-ups and medium shots in the way the characters interact or in their encounter with certain locations. The film do play into this idea of fantasy while Bagdad is presented as something otherworldly despite its sense of repression towards its people which Prince Ahmad learns and wants to rectify. The scenes in the third act where Abu meets a genie (Rex Ingram) would be a showcase for some primitive yet effective visual effects as it add to the sense of adventure that Abu would encounter. Even as the film’s climax is filled with a lot of visual splendor in its compositions as well as maintaining a sense of adventure. Overall, Korda creates a majestic and exhilarating film about a thief helping a blind prince reclaim his throne.
Cinematographer George Perinal, with Technicolor direction by Natalie Kalmus, does incredible work in the cinematography with its gorgeous Technicolor approach to the visuals including some scenes set at night as well as the attention to detail in the look of the colors. Editor Charles Crichton does excellent work with the editing as it is largely straightforward with some rhythmic cuts for some of the action. Production designer Vincent Korda, with scenic background by Percy Day, does brilliant work with the set design in creating lavish sets that would play into the colors of the backgrounds.
Costume designers Oliver Messel, John Armstrong, and Marcel Vertes do amazing work with the costumes as it play into the element of fantasy and in the time period as it help play into the vibrancy of the film’s look. The special effects work of Lawrence Butler does fantastic work with the visual effects as primitive as it was in the late 1930s/early 1940s as it have some wonderment in the effects as it relates to the genie flying as well as the mechanical toys in the film. The sound work of A.W. Watkins does superb work with the sound in the scenes with crowds as well as the sound effects of the toys that Jaffar brings to the sultan. The film’s music by Miklos Rozsa is phenomenal for its bombastic and heavy orchestral score filled with loud drums and percussions and sweeping orchestral arrangements as it is one of the film’s major highlights.
The film’s marvelous cast feature some notable small roles from Adelaide Hall as a singer for the princess, Allan Jeayes as a storyteller talking about the need for a rebellion, Mary Morris in a dual role as Jaffar’s agent Halima and a mechanical toy known as the Silver Maid, and Morton Selten as an old king that Abu would meet late in the film. Miles Malleson is terrific as the Sultan of Basra as a man that is obsessed with mechanical toys as he is swayed by Jaffar in getting a toy in exchange for Jaffar to have the princess. Rex Ingram is superb as the genie as a man who had been inside a lamp for 2000 years as he has issues with humans but is willing to grant Abu three wishes for freeing him. John Justin is fantastic as Prince Ahmad as a young man trying to understand the world he’s ruling and its people only to be usurped by Jaffar and become humble over his situation in his pursuit to reclaim his throne and win the heart of the princess.
June Duprez is excellent as the princess as a woman of such beauty that it is forbidden for regular people to see her as she is pursued by Prince Ahmad whom she sees as a man that is right for her while not wanting to be with Jaffar. Sabu is brilliant as Abu as this young thief that meets Prince Ahmad and wants to help while taking on a journey of his own where his enthusiasm and courage is key to Sabu’s performance. Finally, there’s Conrad Veidt in an amazing performance as the Grand Vizier Jaffar as a mysterious sorcerer who is intent on ruling Bagdad and other places while proving to be powerful and cunning as it’s just Veidt bringing a lot of charisma to a villainous character.
The Thief of Bagdad is a spectacular film from producer Alexander Korda. Featuring a great cast, gorgeous visuals, a sumptuous music score, and an engaging story of adventure and fantasy. It is truly one of the finest films of the fantasy genre as well as a visual marvel that is stunning in its imagery and sense of imagination. In the end, The Thief of Bagdad is a phenomenal film from Alexander Korda.
© thevoid99 2018
Based on the novel by J. Storer Clouston, The Spy in Black is the story about a German U-boat captain who falls for his contact in Britain during World War I. Directed by Michael Powell and screenplay by Emeric Pressburger from a scenario by Roland Pertwee, the film marks the first collaboration between Powell and Pressburger that would help define British cinema. Starring Conrad Veidt, Valerie Hobson, Marius Goring, and Sebastian Shaw. The Spy in Black is a gripping yet engaging film from Michael Powell.
Set in 1917 during World War I, the film revolves around a scheme by a German U-boat captain who goes on an assignment to meet spies working for the Germans pretending to be British citizens. It’s a film that is about spies and conspiracy where a captain is trying to find ways to create a sneak attack on a British fleet at the Scapa Flow in Britain. The film’s screenplay by Emeric Pressburger explores the ideas of what spies do to become someone else and take on a role but also how they have to maintain an act of deceit where they blur the lines of what side they’re playing for.
Especially as this U-boat captain in Hardt (Conrad Veidt) who is eager to help the Germans win against the British at any cost where he finds himself arriving onto the Orkney Islands where he meets and falls for his German contact in a woman named Fraulein Tiel (Valerie Hobson) who is pretending to be a schoolteacher she and other agents had captured. Adding to this growing complication is the disgraced former British naval officer Ashington (Sebastian Shaw) who aids Hardt in the scheme as Hardt suspects about a relationship he had with Tiel. It adds to some of the tension that is looming but also has some layers of secrets about what is really going on where Hardt suspects something isn’t right about Tiel nor Ashington.
Michael Powell’s direction is quite simple while having a flair for style in the way it uses stock footage for shots set in the sea or in battle. Shot on various locations in Britain with much of it shot at Denham Studios, Powell creates a film that explores the world of spies and how they operate where Powell’s usage of medium and wide shots in some of the locations and scenes are quite engaging. Especially in his close-ups as it adds to some of the suspense and drama that looms throughout the film which include scenes involving Hardt and Tiel. There are moments of suspense in the way Powell creates through some scenes as well as some of the moments in the third act as it has some big reveals but also some compelling ideas of war and how some conduct themselves during wartime. Overall, Powell creates a riveting yet sublime film about a U-boat captain taking on a secret mission with the aid of spies in Britain during World War I.
Cinematographer Bernard Browne does excellent work with the film‘s black-and-white photography as it play into some of the scenes at night with its usage of shadows and low-key lights that add a lot to the suspense. Editor Hugh Stewart does nice work with the editing as it is mostly straightforward as it also include some stylish usage of stock footage. Production designer Vincent Korda and art director Frederick Pusey do fantastic work with the look of the house the characters would stay in for much of the film‘s second half as well as some of the interiors of the submarine that Hardt is the captain of. The sound work of A.W. Watkins is terrific for the usage of sound effects as well as in some of the sparse moments in the sound. The film’s music by Miklos Rozsa is superb for its orchestral score as it play into the suspense and drama while not going overboard as it favors lush and low-key moments rather than bombastic pieces.
The film’s incredible cast feature some notable small roles from Cyril Raymond as Reverend John Harris who is supposed to marry the woman Tiel is pretending to be, Hay Petrie as a ferry engineer, George Summers as a ferry captain, June Duprez as a schoolteacher that Tiel would pretend to be, Mary Morris as a chauffer who is really a German spy, and Marius Goring as Hardt’s fellow officer Lt. Schuster who would take command of the sub in place of Hardt. Sebastian Shaw is excellent as Lt. Ashington as a disgraced British officer who decides to help Hardt in planning the attack on the British fleet while being quite ambiguous in what he does outside of the house. Valerie Hobson is brilliant as Fraulein Tiel as a spy who pretends to be a British schoolteacher as she tries to maintain her professionalism and sway the advances of Captain Hardt. Finally, there’s Conrad Veidt in an amazing performance as Captain Hardt as a U-boat captain who is trying to plan an assault on the British fleet where he copes with working with spies and hope for a victory for Germany.
The Spy in Black is a remarkable film from Michael Powell. Featuring a great cast and a compelling script by Emeric Pressburger, the film is a fascinating spy-thriller that play into the world of war and what some will do to survive. In the end, The Spy in Black is a marvelous film from Michael Powell.
Powell/Pressburger Films: Contraband - (The Lion Has Wings) - (An Airman’s Letter to His Mother) - 49th Parallel - One of Our Aircraft is Missing - The Life and Death of Colonel Blimp - (The Volunteer) - A Canterbury Tale - I Know Where I'm Going! - A Matter of Life and Death - Black Narcissus - The Red Shoes - The Small Black Room - (The Elusive Pimpernel) - (Gone to Earth) - The Tales of Hoffmann - (Oh… Rosalinda!!!) - (The Battle of the River Plate) - Ill Met by Moonlight - Peeping Tom - (They’re a Weird Mob) - (Age of Consent) - (The Boy Who Turned Yellow)
© thevoid99 2017
Directed by Robert Wiene and written by Hans Janowitz and Carl Mayer, Das Cabinet des Dr. Caligari (The Cabinet of Dr. Caligari) is the story of a hypnotist who orders a sleepwalker to kill people. Considered to be one of the first horror films ever made, the film is an exploration into what kind of power can drive a man to have another do his dastardly deeds. Starring Werner Krauss, Conrad Veidt, Friedrich Feher, Lil Dagover, and Hans Twardowski. Das Cabinet des Dr. Caligari is a riveting and evocative film from Robert Wiene.
The film is a simple story about circus hypnotist who has a sleepwalker kill people for him as it is told by a man whose friend had been murdered. It’s largely told in a stylish fashion as it begins with a man named Francis (Friedrich Feher) telling his story to a man at a hospital as he and his fiancée Jane (Lil Dagover) are both recovering from what they experienced. There, the main narrative is told where Francis and his friend Alan (Hans Twardowski) go to the fair where they meet the titular character (Werner Krauss) who is performing a trick with his sleepwalker Cesare (Conrad Veidt) who would tell Alan an unsettling premonition. It would then set the tone for what would come as a series of mysterious murders happen in this small town as well as the mystery into who is killing them and such. The script would also have this air of suspense in what is going on while there is a sense of horror in a scene where a victim is killed but it’s really shown in shadows.
Robert Wiene’s direction is truly mesmerizing as it has these gorgeous compositions and imagery that is truly beautiful to look at. While there aren’t any camera movements and is shot entirely in the 1:33:1 aspect ratio which was typical in silent cinema. The compositions in the wide and medium shots do have this air of beauty in the world that Wiene shows as it is set in a small town in early 20th Century Germany while Wiene would also use medium shots and close-ups to play into some of the intimacy. Yet, he would create these compositions and moods into some of the images including a murder scene where it’s about what is not shown rather than what is shown. There are also these moments that are quite scary as Wiene create these moments that are eerie as it relates to the titular character as well as what he does. Plus, there’s a few twists and turns that add a lot to the film as it play into not just the identity of Dr. Caligari but also the idea off how men can be controlled in such ways to do evil. Overall, Wiene creates an ominous yet riveting film about a series of murders in the hands of a hypnotist.
Cinematographer Willy Hameister does excellent work with the cinematography where its usage of lighting, shadows, and shades help create a look for some of the interior scenes as well as in the exteriors. Art directors Walter Reimann, Walter Rohrig, and Hermann Warm do amazing work with the look of the sets including the backgrounds for the walls as well as the look of the sets which add to the film‘s unique visual language. Costume designer Walter Reimann does nice work with the clothes as it relates to the look of the titular character. The film’s music by Giuseppe Becce, with additional work by Timothy Brock for the 2014 restoration, is fantastic for its mixture of somber classical pieces to eerie organ-based music with woodwinds that help play into the suspense.
The film’s brilliant cast include some notable small roles from Elsa Wagner as a landlady who discovers a body, Rudolf Klein-Rogge as a criminal accused of the murders, Hans Lanser-Ludolff as the old man Francis tells the story to, and Rudolf Lettinger as Jane’s father Dr. Olsen. Hans Twardowski is terrific as Francis’ friend Alan who gets a chilling premonition while Lil Dagover is wonderful as their object of affection in Jane who would have an eerie encounter with Cesare. Friedrich Feher is fantastic as Francis as a young man who would try and investigate who has been doing the murders as he becomes personally connected to what is happening. Conrad Veidt is brilliant as Cesare in this eerie performance as a sleepwalker who is controlled to do Dr. Caligari’s bidding as it is a very scary performance to watch. Finally, there’s Werner Krauss in a spectacular performance as Dr. Caligari as this hypnotist who is in control of everything and the mastermind of these murders as it’s a very creepy performance from Krauss who goes all out and creates one of the great villains in horror.
Das Cabinet des Dr. Caligari is a phenomenal film from Robert Wiene. Featuring a great cast, gorgeous visuals, a brooding premise, and a majestic music soundtrack, the film isn’t just one of the defining films of German Expressionism but also a film that is still enchanting as it bear a lot of elements that would define the ideas of what horror films could be. In the end, Das Cabinet des Dr. Caligari is a sensational film from Robert Wiene.
© thevoid99 2016
Directed by Michael Powell and written by Emeric Pressburger from an idea by Powell and Brock Williams, Contraband is the story of a Danish sea captain who is stuck in the British ports as he deals with Nazi spies in the early stages of World War II. The film is a spy drama set at a time when Denmark was neutral to the war as it explores a Danish man who is suddenly forced to take part in the war. Starring Conrad Veidt and Valerie Hobson. Contraband is a thrilling and engaging film from Michael Powell and Emeric Pressburger.
The film revolves around a Danish sea captain who is stopped at a British port where he unknowingly is carrying two British secret agents as he aids one of them in uncovering a Nazi spy syndicate in London. It’s a film that plays into a man trying to do his duty and not be involved in this conflict between Britain and Nazi Germany as he is only in the British seas to transport cargo. Though there are rules and regulations that Captain Andersen (Conrad Veidt) had to follow, the British officers do give him a chance to relax where a shore pass he and his subordinate First Officer Axel Skold (Hay Petrie) were supposed to have were stolen prompting the two to find the passengers that stole those passes. One of them is a passenger in Mrs. Sorensen (Valerie Hobson) who is revealed to be a British spy where Andersen reluctantly helps her.
Emeric Pressburger’s screenplay plays into the sense of fear that is going on in Britain where there’s curfew as London is having blackouts. Though Captain Andersen wants to remain neutral, his encounter with the Nazis would only prompt him to be directly involved knowing the risks he is putting for himself and his country. The script also has these intricacies into what is happening in Britain and what Nazis would try to do as they would target other countries including the U.S. to create more trouble. It adds to the sense of suspense and stakes that emerge where Andersen and Sorensen have to take charge while the script includes a moment before the suspense where the two eat at a Danish restaurant where Andersen would later get help from those men for the film’s climax.
Michael Powell’s direction is quite simple as he shoots the film on location on the British ports just around the time Britain was in war with Nazi Germany. Much of it is simple with some unique tracking shots for the scenes set at the Danish boat as it plays to the sense of control that Andersen needs in his boat. The scenes at the Danish restaurant are energetic with some unique approach to close-ups and medium shots as well as some unique camera angles for some exterior scenes during the blackout. Powell also create these tense moments where Sorensen is being interrogated by the lead Nazi spy Van Dyne (Raymond Lowell) where he knows where to place the camera as well as showcase exactly what Andersen is seeing after being knocked unconscious by a spy. All of which leads to a very interesting and energetic climax that is told with such style and bits of humor by Powell. Overall, Powell and Pressburger create a very riveting and captivating spy film about a Danish sea captain helping a woman uncover a Nazi spy ring.
Cinematographer Freddie Young does excellent work with the film‘s black-and-white photography where many of the film‘s exterior nighttime scenes in London and at sea are very interesting with its low-key approach to lighting as well as some of the interiors including its climax. Editor John Seabourne does nice work with the editing as it‘s very straightforward with a few fade-outs for structural reasons and some rhythmic cuts for some of the film‘s humor. Set decorator Alfred Junge does superb work with the set pieces from the look of the Danish restaurant in London to the secret place where the Nazi spies are.
Costume designer Rahvis does amazing work with the dress that Sorenson wears as well as the tuxedos and uniforms some of the men wear. Sound recordists C.C. Stevens and A.W. Watkins do terrific work with the sound to play into the film‘s suspenseful moments as well as some of its celebratory scenes. The film’s music by Richard Addinsell and John D.H. Greenwood is brilliant for its bombastic orchestral score as well as some lush moments while music director Muir Matheson uses some dancehall music and some traditional pieces to play into Andersen’s need to rally such as the Danish folk song that he and his brethren would sing.
The film’s fantastic cast includes notable appearances from Esmond Knight as a fellow British spy known as Mr. Pidgeon, Joss Ambler and Harold Warrender as a couple of British officers who stop Andersen to inspect his cargo, and Raymond Lovell in a terrific performance as the Nazi spy Van Dyne who is trying to create havoc for Britain and other future enemies. Hay Petrie is excellent in a dual role as Andersen’s subordinate Axel Skold and as Skold’s brother Erik as Petrie brings a lot of charm and wit to both characters. Valerie Hobson is amazing as Mrs. Sorenson as this woman who irks Andersen early on for not wearing a life jacket as she realizes that she needs his help to uncover the Nazi spy ring in London. Finally, there’s Conrad Veidt in a brilliant performance as Captain Andersen as this Danish sea captain who is just trying to do his job as he finds himself involved in uncovering a Nazi spy ring as he decides to get involved for the sake in doing what is right for the world.
Contraband is a marvelous film from Michael Powell and Emeric Pressburger. Featuring great performances from Conrad Veidt and Valerie Hobson as well as intriguing ideas on the world of spies in World War II during its Phoney War period. It’s a film that showcases a moment in time where World War II was just starting as Denmark would enter that war knowing what is at stake. In the end, Contraband is an exhilarating film from Michael Powell and Emeric Pressburger.
Powell/Pressburger Films: The Spy is Black - (The Lion Has Wings) - (An Airman’s Letter to His Mother) - 49th Parallel - One of Our Aircraft is Missing - The Life and Death of Colonel Blimp - (The Volunteer) - A Canterbury Tale - I Know Where I'm Going! - A Matter of Life and Death - Black Narcissus - The Red Shoes - The Small Black Room - (Gone to Earth) - The Tales of Hoffman - (Oh… Rosalinda!!!) - (The Battle of the River Plate) - Ill Met by Moonlight - Peeping Tom - (They’re a Weird Mob) - (Age of Consent) - (The Boy Who Turned Yellow)
© thevoid99 2015
