Liebeslied der Wüste

Let's start with the positives – you have the very beautiful Myrna Loy appearing in a bathtub for goodness sake, a suave Ramon Novarro wooing her with beautiful songs, and an exotic pre-code tale set in Egypt. Where modern viewers will struggle is with the scenes in the desert, where Novarro mistreats and later rapes Loy. What started out as a forbidden romance, albeit with borderline creepiness in Novarro's persistence, becomes cringe-inducing, and I have to say, I also hated the ending. Men forcing themselves on women until they gave in was de rigueur for the time, and the fantasy about Arabs post-Valentino was still strong in America, but the film would have been stronger had it either had Novarro's character been truly honorable ('Barbarian' indeed), or Loy's ultimately capable of resisting him if he wasn't. As it is, one feels conflicted and kind of icky with the message it conveys about both Arabs and women. And yet, Loy and Novarro are both pretty compelling, and make it worth watching. Did I mention Loy appears in a bathtub?

I am a big fan of classic films, so I was looking forward to seeing what I thought would be a good screwball comedy. Myrna Loy is a frequent performer in that kind of film. However I didn't find this to be very enjoyable at all. In fact I found it to be insulting. All throughout the film I was hoping it would get better but it gets worse. The biggest insult is how it ends.

I will not spoil the film but I will say that the way the Prince treated Myrna Loy's character is offensive. If you would like details, please read other reviews that contain spoilers.

I give it 3 stars only because the production quality of the film is excellent. It looks like it could have been made in the early 1950s.

In Cairo, Jamil El Shehab (Ramon Novarro) is a gigolo-conman working out of the train station. He spots his next target, Diana Standing (Myrna Loy), stepping off the train. Her mother is Egyptian. She is met by her wealthy British fiancé Gerald Hume.

This is pre-Code with Myrna Loy in a skimpy nightgown. One's opinion on this depends on how one takes Jamil. He's a cad and a scoundrel. That could be a romantic lead but Diana needs to be up to the challenge. Myrna Loy has that well within her acting range but the character is written a little soft with a healthy dose of western superiority complex. The portrayal of Arab culture is a bit superficial but I expected much less from that era in Hollywood. The chauvinism is interesting. The oasis drinking scene is both brutal and enlightening. This is taming of the shrew on steroids.

Kidnapped in the Egyptian desert, a beautiful American finds herself alternately loving & loathing THE BARBARIAN who abducted her.

Taken solely as romantic adventure, this lavish little MGM film has much to offer, including good acting & fine production values. Considered only from the standpoint of the plot, the story is ludicrous, what with a heroine suffering histrionics among the sand dunes & a hero who is a completely unprincipled cad.

Ramon Novarro does well in the title role, a reprise of his silent film THE ARAB (1924). MGM's Mexican star adds yet another ethnic stripe to his thespian escutcheon, this time portraying an Egyptian prince. Looking a little like a Valentino clone, he gets to sing & act in a variety of languages. Myrna Loy, who only gets billing below the title, is excellent as the Englishwoman caught-up in the allures & entrapments of the Nile Desert. After paying her dues in roles like this, she would very soon become a major Hollywood movie star.

In the very able supporting cast Reginald Denny plays Loy's stuffy fiancé; Edward Arnold is an unctuous pasha; Hedda Hopper appears briefly as an American tourist very pleased with Novarro's attentions. Wonderful old Sir C. Aubrey Smith is well cast as Loy's eccentric uncle and elderly, tart-tongued Louise Closser Hale steals every scene she's in as Loy's peppery companion.

This film is definitely pre-Production Code vintage, a fact made plainly obvious by Loy's lounge-in-the-tub scene. Considered rationally, many of THE BARBARIAN's implications are rather disturbing. That Loy could only be happy with the man who has humiliated, beaten, abused & raped her are decidedly unwholesome ideas to come from the pen of screenwriter - and liberated woman - Anita Loos.

Novarro sings 'Love Songs of the Nile' quite well, but interminably. If it sounds suspiciously like his previous 'Pagan Love Song' hit, it may be because the two songs share the same composers, Nacio Herb Brown & Arthur Freed.

Originally meant to be a steamy romance filled with temptation and scandal, The Barbarian comes off today as antiquated and shocking but for all the wrong reasons. Diana Standing (Myrna Loy) is a wealthy woman from America who comes to Egypt to visit the land of her heritage. Her mother was half Egyptian. There she meets a ruthless womanizer who cons himself into being her guide. Jamil El Shehab (Ramon Novarro) has a history of romancing women and taking their money. He sets his eyes on Diana who no matter how she resists, cannot escape the watchful and menacing eye of Jamil.

Beginning in the 20s, America went wild for all things Arab and mysterious. Women fainted at the thought of men like Rudolph Valentino ravaging them in the desert, something they feared but also longed for. These kinds of stories became commonplace both in Hollywood and in trashy romance novels. Thus, we have The Barbarian. What better subject (rape, brutality, forbidden desire) for a pre-code film? Although she wore a nude bodysuit in the scene, Loy takes a bath in a tub with no bubbles and few flower petals inside to cover her. The soft focus says it all; this movie is all about sex.

Unfortunately today, many women see Novarro as a brute and a savage. Their negative reactions to him make for difficult viewing. His character was intended to be representative of the nagging desire for the unattainable, but by todays standards, Jamil is creepy and bothersome.

Despite these obstacles, the film has some undeniably merits. Novarro's singing enhances the story with a lovely ballad that strains throughout. The direction by Sam Wood leaves the audience with just enough information to tell the story, but not too much as to be smutty. One shot in particular of Diana after her rape is movingly beautiful.