Der Gauner von Bagdad

This film has something in it that everyone would enjoy if they just allow themselves to be taken by it. If you have the chance to see it, simply sit there with a snack & beverage and let the film bring you into the land of 1001 Arabian Nights. The music is almost hypnotic, as the theme plays all through the background. The colors and scenery are breathtakingly beautiful. I enjoyed this film when I was a boy. It took me 20 years to find it on a video cassette and expected to be a little disappointed. I wasn't. It was all that I had remembered and more. See this one with your kids!

Even though this film would understandably be considered juvenile by many (and I very much enjoyed it as a child), I still, as a middle-aged adult, like it very much. (I can't say this for many other things I liked as a child.)

If one watches it with "fairy tale" in mind, that goes a long way in preventing adult over-criticism.

One of the movie books (Maltin) says it is "occasionally atmospheric." I definitely agree.

Also, it has a pretty musical theme that repeats.

A favorite film of mine.

--Mark M Racine, WI, US(A)

I first saw this film when I was a lad back in 1963. It was probably the most wondrous film I had seen - I must have seen it at least half a dozen times during its run in the cinema. At last it is available on a German Blu-ray but it is still not perfect. When a beautiful princess mysteriously falls ill, the only cure is a magical blue rose, but to find it, the princess's suitors must pass through seven doors, each door a test but woe betide to those who fail; but this is where the present Blu-ray falls down.

The film depicts only six doors, so one is missing and it seems to be of a giant killer crab. It has been suggested that this scene was never filmed but I think it was because I seem to remember a scene of a giant crab and also some video sleeves and other promotional material mention a giant killer crab. It may be that the film was shortened to suit TV slots or to fit in extra showings in cinemas. It would be great if this scene was found and restored to its proper place.

For me though, the best remembered scene is of gorgeous Edy Vessel as the evil temptress Kadeejah with her bevy of scantily-clad dancing girls. I have wondered, over the years if something was going on here. After all, gyrating scantily-clad dancing girls are not suitable for kids to see if they are in a night club, but put them into an Arabian Nights fantasy film and they suddenly become suitable for kids to see. I wonder if Arthur Lubin and maybe others were cocking a snook at the film censors. Even the censorious German FSK system gives it a rating of six years old. Whatever the case, I love this film.

Many reviewers have expressed a quiet affection for this film. And rightly so.

Steve Reeves does well and seems to be enjoying himself.

I liked the quest for the blue rose: the seven gates with the strangler trees, the cloak of invisibility, the dangerous lady in white, etc.

The special effects were credible considering that the film is more than fifty years old

I enjoyed the pearls-from-shooting-stars ruse.

Carlo Rustichelli's score supported the action without resorting to Arabian Nights clichés.

A colourful, entertaining film reminiscent of those Saturday matinees.

I remember how great I found this movie when I first saw it as a child. Entertaining, inviting, beautifully scored and visually exciting, it was a good surprise for me, a muscle-movies fan then.

I found Steve Reeves could show something else than his stunning muscles. He gives this time a very lighthearted performance - surprisingly, I guess, for his legions of fans - a step ahead of his habitual towering figure and dark persona. He shows, maybe for the one and only time, that he could create a character that goes beyond himself, in this case, Karim, the Thief of Bagdad. Convincingly, this is the point. In excellent, slimmer shape, smiling, it was Steve Reeves in his apex, in a delightful, colorful movie.

This is a very lovable movie, and I rate it as the best in his career, if you put the seminal 'Hercules' aside as 'hors-concours'.