A Thousand and One Nights (1945)

Instant Favorite.

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Good films always raise compelling questions, whether the format is fiction or documentary fact.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Since having recently seen Vincent Price's fun Fantasy Adventure flick Bagdad,I've been in the mood of seeing a similar film.Taking a look at a fellow IMDbers posts,I noticed them praise an Adventure Fantasy title starring Phil Silvers,which led to me getting ready to stay up for 1000 and 1 nights.The plot:Running away with Abdullah after his friend has been caught pick pocketing, Aladdin decides to enter a passing litter that Princess Armina is being taken around the city in.After hearing about Armina's mythical beauty for years,Aladdin finds Armina to be more beautiful than he has ever imagined.Ignoring Abdullah advice,Aladdin decides after successfully escaping,that he will visit Armina later that night in her castle.Getting captured, Aladdin and Abdullah are set to be killed,until Armina uses her charismatic skills to steal the jail key and free Aladdin & Abdullah.Hiding in a cave,the pals run into a sorcerer called Kofir,who gets Aladdin and Abdullah to go deep into the cave,in order to retrieve a lamp.Whilst wondering about why Kofi wants an old,rusting lamp,Aladdin rubs the object,which leads to a gene called Babs coming out of the lamp.Being told that every wish of his will be granted,Aladdin sets his sights on meeting Armina once again.View on the film:Whilst his role in the film is surprisingly not that prominent, Phil Silvers gives a wonderful performance as Abdullah,thanks to Silvers pushing the Fantasy elements aside to scatter Screwball Comedy moments across the screen,and also cleverly using Abdullah's pick pocketing skills for some quick-witted slap-stick Comedy set pieces. Supplying the movie with some likable songs, Cornel Wilde gives a very good performance as Aladdin,with Wilde balancing Aladdin's heart on his sleeve smile,with a charismatic swagger over seeing Princess Armina (played by a cute Adele Jergens) once again.Showing the guys that she can't be pushed around,the elegant Evelyn Keyes gives a great performance as Babs the genie,as Keyes rips apart Aladdin's dizzy love with hilariously sharp one-liners.Covering the title in rich silk,director Alfred E. Green and cinematographer Ray Rennahan glide the film along a warm mystical atmosphere,by crossing the traditional Fantasy elements of genies and princesses with a modern Comedy take.Green joyfully takes the title from swooning song homages to the genie in distress outwitting all of the men.For their take on an Arabian Nights tale,the screenplay by Wilfred H. Petitt/Richard English and Jack Henley attempts to cross Screwball Comedy over with Fantasy Adventure.For the magical Screwball Comedy moments the writers keep the film speeding along via clever 4th wall breaking gags that go from a desperation for the gun to be invented,to a proto-"TV" stone,which are all kept rooted by the sweet-natured friendship between Aladdin & Abdullah.Although the writers display a clear amount of energy in the comedic moments,the title is sadly never able to give the Fantasy Adventure sections the same sense of excitement,due to Aladdin & Princess Armina's dry relationship not being allowed to progress into a blossoming fairy tale.

Comical variation on the Aladdin story. Aladdin (Cornel Wilde) falls in love with Princess Armina (Adele Jergens) but is forced to flee the kingdom with his sidekick Abdullah (Phil Silvers). He finds a magic lamp with a genie (Evelyn Keyes) inside and uses her wish-granting powers to help him return to his princess. This is definitely a different-looking Cornel Wilde than I'm used to, with somewhat effeminate hair and makeup. Particularly in the early parts where there are lots of close-ups of him. His performance is good, though. He's suited for parts like this. Phil Silvers, who I'm not always crazy about, is lots of fun here. Adele Jergens and Evelyn Keyes, blonde and redhead respectively, are both beautiful in Technicolor. Keyes is the highlight of the film for me as the genie Babs. Dennis Hoey, of Sherlock Holmes series fame, is quite good in a different role. Two roles, actually. Shows he had some range. Lovely Technicolor, great sets and costumes, and nice effects. It's a fine piece of escapism.

Big colorful sets and fantasy costumes are featured in this hokey update to Alladin's Lamp that never takes itself seriously. Evelyn Keyes is adorable as the genie that no one but handsome Cornel Wilde can see, but he has eyes only for Adele Jergens as the blonde princess. Sidekick Phil Silvers has his eyes on every jewel in the palace. Of course there's a scheming Vizir and a Sultan switcharoo. A thief masquerades as a prince, and just about every other Arabian Nights cliché is given some sort of send up.Most of the comedy involves one of the secondary characters turning to the camera and saying something modern while the leads play it straight. Subplots (and villains) are invented then abruptly dropped, and cultural awareness seems unknown in 1940s Hollywood. If this sort of thing makes you cringe you will hate this film, but if you like pretty musical comedy in gorgeous Technicolor there's a lot here to like! The Princess is carried in a royal blue litter that matches her dress, and her bed is draped in sumptuous curtains the same color as her lilac gown. Harem girls flutter in pastels, and the brightly colored see-thru veils they use to cover their faces is merrily naive. Set pieces are few and far between but fabulous, and every other scene seems to take place on an ornate balcony. An authentic looking dance is a welcome distraction, and Silvers and Wilde share a bar sing-along about women (one for romance, the other against) that is campy fun.By the end it feels over-sweet like you've swallowed too much cake icing, but it moves along quickly and there's a happy ending for everyone even the genie. This film is in the same vein as Marlene Dietrich's version of KISMET (1944), which I highly recommend for its pastel harems and anachronistic Baghdad that never was.

Columbia Pictures may not have had the stars to populate this film like MGM or Warners would have, but they knew how to have some fun with what they had. Sure, it's splashed with expensive Technicolor and has lots of costumes and effects (the effects winning an Academy Award for Lawrence W. Butler), but its feeble cast features Evelyn Keyes, Cornel Wilde and Phil Silvers. Not exactly box-office, although Wilde was one of the hot new stars of 1945. But it's Keyes and Silvers who make this film enjoyable, even if their lack of star value keeps this film from being noticed today.It's the umpteenth variation of the 'Aladdin and the Lamp' story, but this one is hoked up with plenty of anachronisms, chiefly in the form of Phil Silvers who plays Aladdin's thief buddy as an All-American wiseguy complete with the latest 40's slang and a pair of modern eyeglasses. And when Aladdin gets hold of the famous lamp (after a scene wherein he and Silvers dodge a giant played by Rex Ingram, who virtually reprises his character from 1940's 'Thief of Baghdad') out pops the genie played by Evelyn Keyes. And she's a sassy sprite who likes to be called "Babs." Since she's invisible to all but the owner of the lamp, she gets to mess around with others and sling wisecracks and warnings at Aladdin, to his discomfort. Sandwiched between Silvers and Keyes, poor Wilde is nothing more than a handsome grinning prop. At least his fencing skills come into play in a climactic duel.The story includes the requisite villain, in this case played by Dennis Hoey (most famous as Inspector Lestrade in the Sherlock Homes series) in a duel role as a Sultan and his scheming twin-brother Prince. Adele Jergens plays the Sultan's daughter who naturally falls for Aladdin because he's so gorgeous and sings love songs to her (Wilde's singing voice dubbed). Jergens is not very interesting (looking like a pale imitation of Virginia Mayo) and to be honest, in my estimation, is strangely overshadowed by the striking looks of her chief maid played by Dusty Anderson. Neither of them became movie stars, but Anderson's looks and voice are so much more impressive than Jergens that it distracts from Wilde's pursuit of the Princess. In my view, why take a chance on being executed for trying to possess a moderately pretty Princess when the maid is a knockout, and likable too? (One small note: Shelley Winters plays a fellow handmaiden in this film, but good luck finding her. I think I spotted her in the back row of a group of maidens in a scene near the end of the film).Interesting line: Phil Silvers looks into a sorcerer's crystal ball and sees himself robbing someone. He quips to Wilde re: the Sorceror: "This guy has run into television and don't know it." Since no pretense is made that this is anything other than a silly romp, Silvers gets to gag it up with plenty of other current references, including the absurd ending wherein he croons a Sinatra tune ("All or Nothing at All" and using the actual Sinatra recording) to handmaidens in bobbysoxer footwear. Needless to say, this a fun movie, easy to like.