La espada de Damasco

Rock Hudson in his pre-Douglas Sirk days (the director who provided him with his best works, along with Frankenheimer's "seconds") and Iin a movie obviously aimed at the children's market .

The screenplay may look like a poor man's "one and thousand nights" leftover ,but the colors are glistening ,Hudson is handsome as Harun, an oriental destitute prince in search of his father's murderer (the whodunnit is predictable and is not pivotal in the plot ); Piper Laurie has plenty of go as a feminist Sheherazade who mingles with the people,dressed up as a commoner or as a young man ("your skin is as smooth as that of a girl", says Harun);he even goes as far as to suggest they pick up girls for dinner!

The ending borrows from king Arthur 's story,complete with sword in the stone,and the old scholar as Merlin. And the tournament looks like those of European Middle-Ages. The baddie uses a watermelon as the world, aping Chaplin in "the dictator ".

But it was pleasant entertaining stuff for the kids of yore ; today's brats might be more demanding ....

Young Piper Laurie and handsome newcomer Rock Hudson were both featured to great advantage in this clearly-plotted and lively adventure-comedy. Imaginative veteran Nathan Juran directs very accurately and imaginatively, and the acting by George Macready as the ambitious villain, aided by Gene Evans (not quite up to a classical accent) and Kathleen Hughes and that of their opponents played by Edgar Barrier, the crafty Stephen Geray and others is above average for any genre. Adding to the fun is lovely Laurie impersonating a boy, a mysterious magic sword (which in lesser hands would have been a detriment) and its magical unwillingness to obey other than a virtuous owner. There is a prolonged sequence when various magicians attempt to remove the sword--which Macready needs to claim the throne--that has become embedded in a wall, and more physically colorful and beautifully-realized scenes than in any ten mean-streets melodramas of the post 1970s. If you do not fall in love with the spirited Khairozan, as Hudson does in the film, then you are probably dead. If you cannot delight in this youthful and stirring adventure of a bygone era, you had best give Grecianized Near-Easterns, our richest adventure genre in so many ways, a consistent miss.

The Golden Blade is directed by Nathan Juran and written by John Rich. It stars Rock Hudson, Piper Laurie, Gene Evans & George Macready. Music is by Joseph Gershenson and Technicolor photography by Maury Gertsman.

By Allah! It would be magic, indeed, that this sword were mine at such a time as this.

Colourful, energetic and costumed with skill, The Golden Blade doesn't lack for effort in the low expectation realm of Arabian Nights adventures. Sadly it's actually TOO daft and goofy when it's not meant to be. True enough that it isn't a film to be taken seriously in the first place, and judging by the performances of Laurie and Hudson, the cast are playing it purely for the undemanding popcorn munching crowd. But once over you just get reminded that there are far better films of this type out there and that the interesting premise, a sort of Arabian/Arthurian blend, isn't fully realised. Not enough swishing and swashing of the titular title weapon also annoys greatly. 5/10

Who could picture in their minds Rock Hudson swinging from drapes, jumping over balconies, or subduing the sultan's guards with his sword? But that's just what Universal gives us in "The Golden Blade." He's surely not on the scale of Errol Flynn, Ty Power, or Stu Granger, but Hudson does a nice swashbuckling turn here.

The Golden Blade is a light-hearted movie of fiction set in a mythical Baghdad. It has some skulduggery that is usual for these desert tales of the mid-20th century. Hudson's physical trysts combine with the energy and rebelliousness of a princess (Piper Laurie) who is always sneaking off to see the world outside the palace. And to do good turns with the people that endear them to her.

The plot isn't complicated and the script is just average. The color, cinematography and costumes add to the enjoyment of the movie. It's not serious filmmaking, but the cast seem as though they are enjoying their craft. Viewers should do likewise. Just sit back and enjoy the color, action, humor and romance of this light but entertaining film.

Arabian Nights adventures were staples on Italian TV in my childhood; this (acquired fairly recently on DVD as part of Universal's "Rock Hudson: Screen Legend" set) was one of them, though I'd practically forgotten all about it in the interim. Not that it's in any way a memorable entry in the genre, and certainly not original – since this is basically the Excalibur legend transposed to ancient Bagdad – but a pleasant diversion nonetheless.

Having watched two of the star's 'oaters' back-to-back (the other was SEA DEVILS [1953]), I can say that he was rather more at ease as an Englishman than an Arab (though he does well enough by the action required here, involving a handful of swordfights and even a jousting[!] contest – which he loses – for the hand of leading lady Piper Laurie). The latter – petite and vivacious – lends some freshness to the mostly familiar proceedings; a similar outing of hers I'd like to revisit someday is THE PRINCE WHO WAS A THIEF (1951) featuring Tony Curtis, another then-rising Universal star who dabbled in actioners (read: potboilers) of every kind during this period.

Anyway, the rest of the cast here is equally creditable: George Macready as the (typically conniving) Grand Vizier, who's eventually revealed to have also ordered the decimation of neighboring Basra (from where Hudson emanates); Samuel Fuller regular Gene Evans as Macready's incompetent son(!) – the old man wants him to marry princess Laurie in order to secure the throne for themselves, but he actually loves her subordinate; Steven Geray as the merchant who first comes into possession of The Golden Blade, and subsequently steers Hudson into fulfilling its destiny (that is, apart from supplying the film's comedy relief); and Edgar Barrier as the reigning Caliph (I've watched him recently in two other exotic ventures for the same studio, namely ARABIAN NIGHTS [1942] and COBRA WOMAN [1944]).

The climax of this compact swashbuckler – running a mere 80 minutes – incorporates a bit of magic (and campiness) as the blade becomes entrenched in the walls of the palace; consequently, a host of muscle-men, inventors and sorcerers are recruited so as to try and dislodge it…but only the dashing hero is able to, the direct result of which is to have the column in question crumble and bury the two villains underneath it! By the way, director Juran would later helm two other (and far more notable) mythical adventures – THE SEVENTH VOYAGE OF SINBAD (1958) and JACK THE GIANT KILLER (1962), both of which had the added appeal of stop-motion animated monsters.