Two Arabian Knights (1927)

I'll tell you why so serious

it is finally so absorbing because it plays like a lyrical road odyssey that’s also a detective story.

The film may be flawed, but its message is not.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Turner Classic Movies showed this silent, B&W flick today (Aug 29, 2007) on TV.Solid classic adventure story, complete with all of the key ingredients: exotic plot locations, a beautiful woman in peril, a pair of dauntless and resourceful heroes (one of them handsome, the other colorful) grossly outnumbered by badguys, sprinkled with comic relief. Great costumes and sets; as good or better than those of current movies. Surprising variety of camera craft and directorship; pans and zooms including overhead angles, and closeups of key characters and objects. In this regard again it seems like a modern movie! Actions convey the story very well; without the benefit of a soundtrack. Of course, this entails a considerable degree of live type acting (similar to that seen in plays), but I did not get a feeling of melodrama like is all too common in most silent films and early sound movies.The most enjoyable performance is played by Louis Wolheim as the rough edged but colorful Sgt. Peter O'Gaffney, who was *perfectly* casted for the role; considering both appearance and skill.There were at least a few peculiar facts about Muslim society that I had previously learned over the past several years, which added to my appreciation of the story in the area of historical accuracy.My favorite scene was when the heroes are fleeing a swarm of dangerous, sword wielding Arabs through the narrow streets of a busy Muslim city. Suddenly though the chase is interrupted by an oblivious imam who pops out onto an exterior balcony to announce that it's time for afternoon prayer. Everyone out on the streets (except for the heroes) religiously obeys Islamic law and momentarily kneels down, which allows the heroes to escape. That scene was just one example of the film's many expressions of originality.After seeing this movie I better realize how extensively modern movies contain rehashed ideas that were pioneered decades earlier.

Like TWO ARABIAN KNIGHTS, a couple of American soldiers attempt the daring rescue of a Middle Eastern princess from a loveless betrothal.Producer Howard Hughes became a Hollywood power with the very successful release of this, his third motion picture. Thought lost for decades, this wonderful silent comedy has recently been rediscovered & restored and given a splendid orchestral score by Robert Israel. Directed with verve by Lewis Milestone and greatly benefiting from William Cameron Menzies' art direction, the high jinks & high adventure of this antique buddy film are once again ready to delight the viewing audience.Clean-cut private William Boyd and plug-ugly sergeant Louis Wolheim battle Germans, Arabs and each other across Europe, the Mediterranean and into Palestine. They make a terrific comedy duo, constantly involved in one-upmanship and dangerous exploits whether in a POW camp, on a prisoner train, aboard a tramp steamer, or in a Moslem souk and emir's palace. Wolheim, with his hilariously expressive face, has a slight advantage in the scene stealing category, while Boyd has the upper hand in the romantics department.Mary Astor, as the endangered princess, is the willing recipient of Boyd's attentions. Her role doesn't give her a great deal to do except look lovely & alarmed, but these she carries off admirably.In the supporting cast, Michael Visaroff is the black hearted ship's captain who comes into conflict with Boyd & Wolheim; look fast for Boris Karloff as his purser. Dashing Ian Keith nicely plays the young Arab chieftain who will stop at nothing to make Astor his bride.At various points throughout the movie the viewer will notice the deterioration of the film stock, showing that TWO ARABIAN KNIGHTS was indeed rescued, like the princess, just in time.

Finally, I got to see this legendary masterpiece on TV. When I first heard that there was an Arabian movie featuring the Western icon "Hopalong Cassidy"(William Boyd) and the Gothic icon Boris Karloff, the idea sounded like a disparate joke. (Actually, Karloff only plays a brief, minor role, being new to the silver screen at that time.) The script is very original. The shooting is excellent for the times. And the acting is so well done, you feel what the characters feel, and can easily read the actors' lips for practically every line. Unlike many silent-era films, you get the sensation that you are in this one.The comedy starts right from the opening scene, and I will describe it only to illustrate the unexpected silliness of William Boyd: He is in a night battle in World War I, and drops into a shell crater to avoid German gunfire. His 1st Sergeant, a bully and a brute whom he despises, had just fallen in before him, and is unconscious. Boyd tries to revive him until he sees who he is, and starts slinging mud on the Sergeant's face. He revives and they immediately jump into a fistfight in the mud. When a flare illuminates the night sky, they look up and see the hole is surrounded with numerous Germans with bayonets. The enemy was having a time watching them fight each other! It is an eye opener to see the future Hopalong Cassidy in a real cut-up comedy role, back when he looked like a very young cross between Marlon Brando and Jack Haley.I was very impressed with the nitty-gritty reality in this film about POW's of World War I, in an era when glossed-over heroics and reality-denial dominated war films. Moreover, there is often a timeless feeling, especially during the POW camp scenes, which gives the viewer a sense of closeness to the people of that era; and the understanding that people have at all times in history been, in their own way, "modern."The dual-based plot, (survival and escape, and later a pursuit of romance), rolls steadily through ever-changing backgrounds. The factors of comedy, action, danger, and romance blend harmoniously throughout. The relationship between Boyd's and Wolheim's characters develop from utter hatred, to enduring animosity, to forced survival cooperation, to mild mutual suspiciousness, to amorous competition, to strong friendship.Though this is a silent film from 1927, centered on World War I in Europe and Turkey, I have never had such a modern and timeless feeling from a silent movie. This results from the cool, timeless acting and characterizations, and the excellent directing and shooting.This is the first silent drammatic film my kids have thoroughly enjoyed, (until now only preferring silent comedic standards by Keaton, Chaplin, and Harold Lloyd.)

Enjoyed viewing this 1927 Silent Film from the past and seeing great Classic actors like Mary Astor, William Boyd and Boris Karloff. The film depicts two soldiers fighting in the trenches of WWI and wearing gas masks against the Mustard Gas that the Germans were using to kill the American Forces in Europe. William Boyd,(Pvt W. Dangerfield Phelps),"Hopalong Cassidy",'49 TV Series, was a green horn to fighting in the muddy trenches and meets up with a veteran soldier, Louis Walheim,(Sgt.Peter McGaffney),"The Sin Ship",'31, who gave Pvt. Dangerfield a very hard time during half of the picture. The two soldiers meet up with Mary Astor,(Anis bin Adham/Miraz),"Hush...Hush, Sweet Charlotte','64, who wears a veil over her face and charms the two soldiers into paying for her fare on their voyage. If you look real close, you will see Boris Karloff,(Purser)"Targets",'68, who was the purser on the ship and was just starting his career with a minor role in this Army life comedy, at the age of 40 years. Howard Huges produced this picture for UA and was the first film to win an Academy Award for its direction. If you want to see a great Silent Film from 1927, you will definitely enjoy this CLASSIC!