The Thief of Bagdad (1940)

To me, this movie is perfection.

If you don't like this, we can't be friends.

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Story: It's very simple but honestly that is fine.

a film who you desire see. again. and again. perfect , seductive, fascinating, realistic in a manner who must be discovered because it seems be out of words. a simple story. about old fashion virtues. about magic and about a page from Arabian Nights and one of the best ways to discover , after a long time, the flavors and colors and voices of childhood. Sabu is more than great and John Justin is the real imagined prince. the story is dramatic and amusing and honest and fresh and seductive and full of gifts for the public from each age. its profound honesty is the lead virtue. and the source of fascination in the era of high technology who gives a so cold version of reality than a film like "The Thief of Bagdad" represents the ideal refuge.

It was really a feast for my eyes to watch this wonderful, amazingly interesting, magically charged Arabian Nights adventure after so many years. I really enjoyed it and felt the beauty of the golden age of Hollywood unleashing before me like some dream come true. This is a superb Technicolor movie sporting special effects of those seminal times of motion picture technology. The story and the plot is extremely well scripted and filmed. The characters of Jaffar, Princess and the thief played by Sabu, all perfectly get under the skin of their respective roles. Considering the year 1940, it was a far cry for even big Hollywood productions like Casablanca(1942) and Citizen Kane (1941) to be filmed in Technicolor. The special visual effects are more catchy, attractive and thrill oriented than those filmed today with computer aided technology of the 21st century. I, therefore pay my glowing tributes to the producers and directors who endeavored to magically enthrall their audience well over half a century ago. The bewitching music score by Miklos Rozsa adds stymieing ambiance to this fine episode of One Thousand and One Nights. A must see for all the sci-fi crazy generation of this computer graphics age.

Yet another film where reviewers seem a bit shy about going for the high numbers. This production came out of left field even by the standards of 1940 and was not only brilliant then, it is brilliant now. How is it possible for a project almost a century old to hold up against CGI today? Maybe it really is magic. There are elements here that are unforgettable -- the genie, who yearns for nothing but to be free ... free ... free. The evil magician who does hesitate to kill or tamper with the mind of the heroine. The use of mechanical/magical devices is especially memorable because these paradoxes were indeed part and parcel of the "arabian nights" mythology and remain as big a mystery today as they were centuries ago. Agree with those reviewers who insist that this movie has never been equalled. True. A one-of-a-kind, fun for old and young, and highly recommended.

The special effects of this classic fantasy might seem rudimentary by today's standards, but THE THIEF OF BAGDAD is still wonderful entertainment. Partly this is due to the wonderful performances: Conrad Veidt is an eminently hissable villain, set against John Justin's clean- cut Ahmad and June Duprez's untouchable Princess. Sabu doesn't take himself too seriously - even in the midst of the most difficult situation he uses humor; while Rex Ingram's Djinn has a full-throated belly-laugh. The sets and costumes are quite simply out of this world - a riot of color complemented by futuristic designs (reminiscent of Menzies' 1936 hit THINGS TO COME). While the story has a contemporary resonance for 1940, with the defeat of tyranny and the triumph of virtue, the movie as a whole is an experience not to be missed. Share in the magic-carpet ride that AAbu (Sabu) makes to rescue; enjoy the thrills of watching him take the all-seeing eye, watched over by the Djinn; and enjoy the climax where Jaffar (Veidt) meets a predictably sticky end. One to watch again and again.