Aladins Abenteuer

I had first seen The Wnders of Aladdin when i was young, and had loved it. Now, 60 years later, I watched it again and enjoyed it as much.

Years ago when the first Ninja Turtles movie made its way to VHS, my five-year-old neighbor girl (who liked coming by to play with my toddler), knocked on my door, pressed her copy of the movie into my hands and said, "You've *got* to watch this. It's the *best* movie ever made." When I first saw "The Wonders of Aladdin," I thought it was the best movie ever made. I was eight. My favorite thing in the world at that time was listening to the Broadway cast album of "Kismet" (the movie of which I didn't see for many years) and reading 1001 nights tales in picture books. When I saw "The Wonders of Aladdin" on television with my family, I remember being absolutely enthralled. (I remember my mother being surprised that Vittorio de Sica was in it.) I loved every plot twist. The genie appearing in a matte shot, smaller and smaller with each appearance, made perfect sense to me. I rooted for Donald O'Connor. I was thrilled when he won the princess (who I'd thought was Annette Funicello).

When I saw it again, about age 12, I was appalled. What a cheesy picture, I thought. The wink-wink-nudge-nudge joke of O'Connor (but not the audience) accidentally seeing the princess (not Funicello after all) nude seemed embarrassing. The "special effects" were just cheap.

When I caught the movie again at college age--after several years of reading about films and seeing films of all eras--I was ready to forgive "The Wonders of Aladdin" its failings and enjoy it again.

If you like 1001 nights type stories and you appreciate films of different eras, "The Wonders of Aladdin" is an enjoyable B-movie fantasy.

This has to be one of the finest comedies to feature Donald O'Connor that didn't feature him dancing or with a talking mule. When you look at it, he really isn't the smooth teen idol type that was portrayed in the classic animated feature that came out several years later, O'Connor played Aladdin more like an ordinary guy who gets involved in very unusual situations. Too bad this is rarely shown on television anymore, it is definitely a treat.

Pairing Henry levin (who made the best "journey to the center of the earth " that had ever been ) and Mario Bava (whose best fantasy and horror movies such as "i tre volti della paura" have remained memorable ) promised great things ;but these promises remained on hold.

It cannot hold a candle to "the thief of Baghdad " (1940) from which it borrowed the automaton (a murderous sexy girl) ;firts of all,Donald O' Connor is at least twice Alladin's age ;a cosmopolitan cast does not help :To support the American actor , Italians (De Sica as the genius in the bottle) ,and FRench comedians (Noelle Adam ,Michèle Mercier ,future Angélique )

Magis is absent all along the way ,but the film is not devoid of sadism : the soldier handed to the blood-thirsty automaton,people ending for lunch to the lions ;and what have the Amazons, who come from Greek mythology, got to do in "one and a thousand nights"?Why not Hercules or the mummy when they are at it?

The screenplay is muddled and desultory .

The wise adults would pass this up and watch the 1940 work or Pasolini's 1974 version,the latter not suitable for the children audience.

While I could only get my hands on a French-dubbed version of this costumed romp (without even the benefit of any subtitles), I admit to having enjoyed it quite a bit – indeed, more than I anticipated! Bava's involvement notwithstanding, I had long wanted to check this one out, in view of a movie poster of it kept in a scrapbook by my father back from the time of its local theatrical release. I have watched many an Arabian Nights fantasy in my time, so that there was very little novelty in the way of plot here…but the cult director's hand definitely benefited the look of the film – with sets, costumes, special effects and overall color scheme all coming across as rather splendid within their modest confines. Apart from the obligatory Hollywood veteran brought in to act as 'supervisor', we also get an American lead in Donald O'Connor: his comic shtick may be an acquired taste, but the actor's irrepressible energy served the role well in action highlights (not to mention a dance sequence towards the end in which he assumes the garbs of a mannequin imbued with life by the villain's sorcerer!). Also exposing the movie's Italian/French heritage is the fact that the supporting cast is peppered with many an established and upcoming presence from both these countries: Fausto Tozzi as a particularly flamboyant Grand Vizier, Terence Hill (still bearing his pre-stardom name of Mario Girotti) as the romantic second lead, Vittorio De Sica as the ubiquitous genie-in-a-lamp, and a typically flustered Aldo Fabrizi as the Sultan; Michele Mercier, then, is Hill's regal intended and Fabrizi's daughter (naturally also coveted by the dastardly Tozzi) and Raymond Bussieres appears as the Sultan's adviser. As expected, the fantasy sequences – capped by a desert climax in which O'Connor duels with Tozzi (albeit managing to overcome him only through De Sica's helping hand, just as, at one point his dimensions are enlarged in order for him to turn the tables on some pursuers, with one of them even landing the post thereafter of the hero's servant/sidekick!) – prove the film's ultimate mainstay. That said, there are also comedic flashes of eroticism (O'Connor twice discovers his girlfriend hanging naked after being captured by the villain) and a couple more of outright sadism (people falling through a secret panel in the floor of Tozzi's palace are ripped apart by his vicious dogs) which are decidedly incongruous for what is essentially a kiddie film!