Die schwarzen Teufel von Bagdad

As other posters note, the plot of Bagdad is incoherent, though its momentum and the good-bad IDs are always clear. It's one of those odd paste-jewelry gems of the mid-century Hollywood studios. Overall the prevailing aesthetic is camp, especially given the outrageousness of Maureen O'Hara as a red-haired, green-eyed, candle-cheeked Bedouin princess and the languid Swede Paul Hibschmud / Christian in the Valentino slot.

But if Bagdad is campy junk, it's not exactly cheap junk. The color is touching, as are the efficiently managed sets. If you look closely at the California desert shots, you'll see many a rock outcropping used in Western chases with cowboys.

Bagdad is not a Western, though, but an "Eastern." As another poster noted, Maria Montez was the icon of this minor movement in Hollywood genre films. As with other such potboilers, one of the pleasures is the precise performance of the character actors, e. g. John Sutton as the villain and whoever plays the sentimental role of the old retainer to the princess's father.

Plenty of credit to O'Hara and Price for carrying the film. The scenario has so many lurches and fillers that you see something in these actors beyond mere talent, though both have plenty. Beyond talent, they're both troopers who never flinch when the script double-clutches--they brave every scene through, holding up the pretense, and O'Hara's song-and-dance performances give some scenes a surprising robustness.

Given the plot's weaknesses, I doubt if this movie is worth sitting down for 90 minutes at one stretch. But I taped it off a cable channel and watched about 10 minutes at a time. Virtually every 10-minute episode featured a song or dance, a scene of intrigue, and luminous backdrops with well-staged action. Obviously a viewer must have a predisposition to pure escapism. What else is Hollywood for? Recommended on those terms.

A memorable film from several points. The color was terrific; the songs that Maureen O'Hara trilled had style; the costumes were overdone; the acting and dialogue, with all those "thee's" and "thou's" were unbelievable. Maureen must have been in Elizabethan England before returning to Bagdad. I really think the whole crew, including writers, must have had a hilarious time making this screwy movie. It is so bad, it is good.

The costumes, locations, and action make up for the thin plot in this story of a princess in search of her father's murderer. True, there are holes in the story, Maureen O'Hara as a red-haired Turkish princess takes a stretch of imagination, but the look of the film is wonderful. Vincent Price, as always, makes a menacing villain. One wishes there was more romance, however. A good time, nonetheless.

The costumes, locations, and action make up for the thin plot in this story of a princess in search of her father's murderer. True, there are holes in the story, Maureen O'Hara as a red-haired Turkish princess takes a stretch of imagination, but the look of the film is wonderful. Vincent Price, as always, makes a menacing villian. One wishes there was more romance, however. A good time, nonetheless.

An Arab sheik's daughter (Maureen O'Hara) avenges his death, blamed on Hassan (Paul Christian) and his Black Riders.

Maureen O'Hara in Technicolor, great sets and some intrigue, Bagdad is watchable, however there's not much action and the focus is on mental games, hence it's talky. A lot of things happen but it doesn't really drive the pace. O'Hara makes for a fetching heroine, Vincent Price is at his usual slimy best who likes slapping people and hates Bedouins and Paul Christian (aka Paul Hubschmid), is a Arab 'misfit' prince with a chameleon-like personality who must use all his talents to remain alive. It's not bad, has watchable qualities, very much wonderful look at with its colour and designs, but also has it's setbacks.