Zarak (1956)

One of my all time favorites.

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

This is a dark and sometimes deeply uncomfortable drama

Victor Mature plays the title character in this set in Afghanistan but shot in Burma adventure. Zarak is an Afghani tribesman given a choice: either be flogged to death or expelled from his village for the crime of kissing the wrong woman (Anita Ekberg). He takes up a life of crime and the British Army decides his reign of banditry must come to an end, dispatching Major Ingram (Michael Wilding) to sort things out. Ingram ends up getting into a spot of trouble — a spot only Zarak can rescue him from. Though Mature is (as usual) pretty bad and the politics (sexual and otherwise) hopelessly outdated, this is an interesting early example of work by the team that would later bring us Dr. No. — director Terence Young, screenwriter Richard Maibaum, and producer Albert Broccoli. A superb supporting cast, including Eric Pohlmann, Bonar Colleano, Finlay Currie, Patrick McGoohan, and Andre Morell helps matters, too.

This desert-set adventure flick exemplifies the subtle difference between Hokum and Camp: recently, I had watched its star, Victor Mature, in THE VEILS OF BAGDAD (1953) – spirited, tongue-in-cheek and generally exuding an air of unpretentious low-budget professionalism, it falls firmly into the former category; ZARAK, on the other hand, tries to be serious (with its religious/political undertones and calling into question familial/patriotic loyalties at times of stress) but is so relentlessly high-strung as to emerge a fount of virtually uninterrupted (but clearly unintended) hilarity! These are too numerous to cite and most have, in any case already subsided in my memory, but I can't fail to mention Mature's irrepressible resourcefulness – though very obviously doubled at times – when aroused (including high-kicking his opponents and vigorously hacking away at a rope-bridge on which his arch-nemesis Michael Wilding is hanging for dear life), stoicism in the face of torture and impending death and, particularly, his wallowing in self-pity (and hysterically funny subsequent haunting) after unwittingly bludgeoning to death the current Mullah of the mosque – who had actually interceded for Mature during a public flogging and does the same, much to the latter's evident chagrin, for the British Major at the aforementioned bridge sequence! That is not to say ZARAK is a bad film in the strict sense of the word: for one thing, there's plenty of action throughout (some of it actually borrowed from the classic Alexander Korda production of THE FOUR FEATHERS [1939]!) – but, to be sure, the narrative is inordinately muddled for this type of film (not only in delineating the plot or the hero's motivations, but also by having such a prominent character as that of Bernard Miles vanish altogether halfway through)! This was the second of six British-made actioners featuring Hollywood hunk Mature, filmed virtually back-to-back and after which his career would slowly grind to a stand-still; for the record, the others – none of which I've watched – were SAFARI (1956), INTERPOL (1957; also with co-star Anita Ekberg), THE LONG HAUL (1957), NO TIME TO DIE (1958) and the somewhat similar THE BANDIT OF ZHOBE (1959; actually directed by the co-story writer of this one, John Gilling). Sexy in scantily-clad attire, Ekberg even gets to perform a sultry exotic dance but is otherwise underused here; Wilding is as ineffectual playing the stiff-upper-lipped cavalry officer after Mature as the latter is wooden in Afghan tinge and garb(!), Miles appears as the star's one-eyed comic relief sidekick (at one point drooling over the heroine's writhing and to which he's vainly attempting to draw his brooding partner's attention), while Finlay Currie is – what else? – the earnest but ill-fated Holy Man. Apart from these, the supporting cast includes: Bonar Colleano (as one of Zarak's treacherous younger siblings), Frederick Valk (in his last role as his tyrannical father), Eunice Gayson (best-known for first eliciting the celebrated trademark response of "Bond, James Bond" – in DR. NO [1962], of course – is here Wilding's ingenuous bride) and Patrick McGoohan (youthful but already imposing in what is presumably his first sizeable part in a film as Wilding's aide). The behind-the-scenes credits are similarly notable – several of whom would soon prove instrumental in cementing the 007 image into the public consciousness.

They don't make 'em like this anymore, and more's the pity. It's hokey, contrived, politically incorrect, and laced with clichés, but it blissfully transports one back to that innocent, popcorn-scented time in the balcony of the local Bijou when Technicolor images flickering across a silver screen could sweep one into a magical world of harem girls and charging horsemen.Structurally, the film is a bit of a mess, stitching together a forbidden romance between star-crossed lovers, a stiff-upper-lip adventure about civilized British soldiers subduing pagan hordes, and a personal drama about the growing respect between two enemy combatants. While the plot is a mishmash, however, it's never dull, it moves along at a merry clip, and it fills the CinemaScope screen with lively, colorful, filmed-in-Morocco images.Michael Wilding and Patrick McGoohan are properly British, Anita Ekberg never looked more glamorous, and Victor Mature was born to play just this sort of thing. Lean back, set your brain at "Idle," and enjoy!(Incidentally, Victor Mature is flogged twice in this movie. The one which occurs in the first reel is especially vivid and it ranks 52nd on a list published in the book, "Lash! The Hundred Great Scenes of Men Being Whipped in the Movies.")

In "Zarak", Victor Mature didn't take his own acting ability too seriously... but he had a special sense of humor and the art to play the mighty outlaw of the territory with great bravery and courage...Zarak Khan is in love with Salma... Salma is one of the wives of his hateful and offensive father Hajji Khan (Frederick Valk). Salma is the statuesque and voluptuous blonde Anita Ekberg, who remains the impossible love of the mighty rebel...Anita Ekberg burns up the screen with her sexy figure... She looks so radiant and beautiful in her oriental gown, it really flatters her figure... Anita, as always, is tasty and juicy, but acting is not something that she excels in... Her zest is evident in her romantic scenes with Mature, but she stands exposed in places that require serious emoting... The one dimensional portrayal of all the characters is something common to the genre... Michael Wilding is not bad as the British political officer in pursuit of Zarak...Shot in Morocco, and photographed in CinemaScope and Technicolor, "Zarak" is somewhat an entertaining adventure...