Schlachtenbummler

The third movie produced by Howard Hughes, this gem was thought to be lost. It was recently restored and shown on TCM (12/15/04). The plot is a familiar one - two WW I soldiers escape from a German prison camp (guarded by an extremely lethargic German shepherd, who practically guides them out of the camp), stow away on a ship, and end up in "Arabia", where they rescue the lovely Mary Astor. The restoration is very good overall, although there are two or three very rough sequences. The production is very good, and there are some very funny scenes. And did I mention that Mary Astor is in it? The film won an Academy Award for the now-defunct category of "Best Direction of a Comedy".

"Two Arabian Knights" has the distinction of winning one of the first two Oscars given for Best Direction. In the Academy's first year, 1927-28, the Best Director award was split between dramatic and comedy categories, and "Two Arabian Knights" won the latter. Indeed, it's only the first of two films in Oscar history -- the second being "The Divine Lady" the following year -- to win a Best Director Oscar without being nominated for Best Picture, but since that first year was the only one in which two directing awards were given, it isn't an apples to apples comparison with other years. Lewis Milestone, who certainly deserved to win an Oscar for something and would become the first person to win two directing Oscars when the Academy awarded him the prize two years later for "All Quiet on the Western Front," beat Ted Wilde ("Speedy") to win the one for this film, and I have to say the Academy got it wrong. "Two Arabian Knights" is enjoyable, at times very funny, and features a very fetching Mary Astor (this was the first silent performance I'd ever seen her in), but it doesn't hold a candle to Harold Lloyd's hysterical comedy.

If all had gone originally according to plan, we would be saying that both "Two Arabian Knights" and "Speedy" were bested in this category by Charles Chaplin's "The Circus." But the Academy decided to yank Chaplin's film from competitive consideration and instead give it a special award.

Grade: B+

Turner Classic Movies is showing 'Two Arabian Nights' on December 15, 2004, as part of their salute to Howard Hughes, subject of the new movie "The Aviator." TCM's web site states that their 'salute coincides with this month's theatrical release of The Aviator, Martin Scorsese's film biography of Hughes. Part One includes three silent films from Hughes' early career as a producer that have not been seen since their initial release, along with two key Hughes movies from the early sound era. The silent films are part of an extensive collection of memorabilia donated by the Hughes estate and the Howard Hughes Corporation to the Film Department at the University of Nevada, Las Vegas (UNLV), and digitally restored through TCM funding by special arrangement with Flicker Alley. Each has a new score by composer Robert Israel.'

TCM came through by acquiring this wonderful, silent, comedy/drama for television. Until recently it had been locked away in an achieve somewhere. It premiered on TV for the 1st time since its theatrical release in 1927. Two Americans fighting in World War I (William Boyd and Louis Wolheim) are hiding in a defensive position with German soldiers advancing. They however are fighting with each other and working the nerve of one-an-other. They of course are caught, but after an inventive escape they are taken on a whirlwind adventure in Arabia, with all the humor you might find in an Abbott and Costello movie. Very funny and sometimes even touching. A great silent picture and winner of an Academy Award for "Best Comedy Direction". Directed by Lewis Milestone.

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.