The Desert Song (1953)

A Masterpiece!

A lot more amusing than I thought it would be.

It really made me laugh, but for some moments I was tearing up because I could relate so much.

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

While not perfect, The Desert Song has a lot to like about it. The story is very improbable and does drag in spots, and Steve Cochran is sadly underused to the point he was wasted although he does do his best. However, the cinematography is absolutely gorgeous, the sets are handsome and the costumes are colourful, if anything the production values are one of the film's strongest attributes. The Desert Song has a very pleasant and lively score and the songs are great, especially The Desert Song, One Alone and Gay Parisienne. The dialogue is snappily written without ever been corny and there are some very sweet moments without being saccharine, the conflict is also convincing. The dancing is deliciously exotic and choreographed in a way that doesn't interfere with the story or the pacing of it and the direction is not too flashy and never indifferent. Gordon McRae is immensely charming and shows that he is natural in comedy, his voice, one of the beautiful on film, is as ever splendid. It is the same with Kathryn Grayson, who brings personal charm and sass to her role, who is energetic in Gay Parisienne and really goes for it in One Alone that it is easy to feel the emotion. Raymond Massey is a perfect villain and for me he was the best and juiciest performance in the film. To conclude, The Desert Song is not quite glorious but it's well performed, handsomely made and makes for good entertainment. 8/10 Bethany Cox

It is what it is. For more serious-in-depth reviews, please look elsewhere in this reviewer reviews section, as I didn't pay much attention to who was doing what and why. This is a fun movie to read the Sunday paper by, and glance at occasionally. Glaring Technicolor, 'exotic' sets and costumes, and of course the trilling song stylings of Ms. Grayson and the rumbling song stylings of Mr. McRae. Look up at the TV and there's Kathryn Grayson in the desert, wearing a corseted lavendar gown, with what looks like a score of Foreign Legionaires at her feet (for all the world looking like a score of boy dancers ready to lift her over their heads and twirl her around). Look up again later, see an exotic belly dancer in a dark nightclub - mostly dancing, less belly! Look up again and see a pretty blue-eyed Arab princess painted with the fakest dark makeup the Westmores had in stock! A fun movie. If you like operetta, even more fun!

I'm afraid I must contradict one of the contributors above. El Khobar (The Red Shadow) was not based on Abd-el-Kader but instead on the exploits of one known as El Hadj Aleman, who gave the French Foreign Legion fits during the Riff War in the 1920's. El Hadj Aleman was in fact a Legion deserter (Otto Klems) of German nationality. Despite being a Legion officer, he hated the French, defecting to the Arabs and with his military skills became a very effective leader. His identity was a mystery to the Foreign Legion until nearly the end of the war. Surrendering, he was sentenced to death by the French, but he had become a romantic hero in the U.S. due to dispatches by American reporters (witness Romberg's operetta, The Desert Song, as a result). U.S. pressure was applied to the French and they at last quietly released Klems. Back in Germany and in prison for burglary, he committed suicide.Just setting the record straight.

I have to say from the outset I'm a sucker for operettas. I like music as long as it has a melody and there's nothing more melodious than an operetta. The Desert Song is filled with wonderful melodies and Gordon MacRae and Kathryn Grayson sing them to perfection in this third film adaption of the Romberg-Harbach-Hammerstein operetta.The real surprise for most people is that the Riffs are quite real. A hardy fighting group they were led in the teens and twenties of the last century by a romantic hero very much like the Red Shadow(El Khobar)named Abdel-Krim. They are the indigenous folk who inhabit in and around the Atlas mountains of Morocco and what was at that time Spanish Morocco. During the post World War I years American correspondents reporting from those wars were pretty much on the side of the Riffs who were seeking independence from France and Spain. Spain which was not a combatant in World War I took the brunt of the fighting. And Abdel Krim led them on a merry chase for a decade. The Spanish army was beaten at every turn. A guy named Francisco Franco got his first military combat in the Riff Wars.Eventually the French entered the war in a big way and Abdel-Krim became a prisoner. He went into exile after release and died in the mid 60s. He was a warrior, Abdel Krim in the tradition of Saladin of the Crusades, not at all like today's terrorists. He never made war on civilians. The guy most responsible for his capture was Marshal Phillippe Petain who led the French army, his most notable activity between both world wars.No doubt in my mind that Abdel-Krim was the model of our hero. Of course since this is the west doing the story we make the hero a Frenchman named Paul Bonnard who by day is a mild-mannered archaeologist from a French University by day and the fearsome lion of the desert by night. Gordon MacRae even dons glasses in his Paul Bonnard mode, just like Clark Kent.And the leading lady is Margot, daughter of the French commandant and a typical 1920s flirt. In this version that would be Kathryn Grayson. But it's the wonderful romantic music that Sigmund Romberg wrote that will make the Desert Song last forever. The main songs, The Desert Song One Alone, the Riff Song and Margot's soliloquy Romance are done in fine style by the leads. I wish more of the score got into this version.Doing operetta, of necessity a lot of it is tongue in cheek. As villains Raymond Massey and Frank DeKova seem to be having a great old time, hamming it up. Kathryn Grayson got to do a lot of classic operetta and opera while she was at MGM. Gordon MacRae had a terrific baritone voice and sad to say in his case, he didn't come along in the 1930s or he could have done a lot of the operetta that was being filmed then.One more thing about Abdel Krim. I can't prove it, but I think he was the model for Rudolph Valentino's The Sheik and we all know how popular that was.For us operetta fans of all ages.