Frères d'armes

Turner Classic Movies is showing 'Two Arabian Nights' on December 15, 2004, as part of their salute to Howard Hughes, subject of the new movie "The Aviator." TCM's web site states that their 'salute coincides with this month's theatrical release of The Aviator, Martin Scorsese's film biography of Hughes. Part One includes three silent films from Hughes' early career as a producer that have not been seen since their initial release, along with two key Hughes movies from the early sound era. The silent films are part of an extensive collection of memorabilia donated by the Hughes estate and the Howard Hughes Corporation to the Film Department at the University of Nevada, Las Vegas (UNLV), and digitally restored through TCM funding by special arrangement with Flicker Alley. Each has a new score by composer Robert Israel.'

The third movie produced by Howard Hughes, this gem was thought to be lost. It was recently restored and shown on TCM (12/15/04). The plot is a familiar one - two WW I soldiers escape from a German prison camp (guarded by an extremely lethargic German shepherd, who practically guides them out of the camp), stow away on a ship, and end up in "Arabia", where they rescue the lovely Mary Astor. The restoration is very good overall, although there are two or three very rough sequences. The production is very good, and there are some very funny scenes. And did I mention that Mary Astor is in it? The film won an Academy Award for the now-defunct category of "Best Direction of a Comedy".

Finally broadcast by Turner Classic Movies on December 15, 2004. The best feature of this comedy-drama is in fact the directing. Unusual overhead shots, clever arrangements of actors to later reveal a different situation than first seen, make this film stand out. Director Lewis Milestone would go on to do "All Quiet on the Western Front," "The Front Page," "Of Mice and Men," and the 1962 "Mutiny on the Bounty." The plot is a bit convoluted (war in the trenches to a prison camp, to the high seas, and finally in Arabia) and there is some problems with continuity, but a synopsis is that boy meets girl and boy gets girl. The writing appears to have been above average but are we looking at the original titles or was the text altered and updated during the restoration? William Boyd (AKA Hopalong Cassidy) is actually believable as a carefree World War I doughboy as is Louis Wolheim as his buddy the Sergeant. Michael Visaroff is excellent as the lecherous ship's captain. The film also features a twenty-one year old Mary Astor and Boris Karloff. New music provides a pleasant accompaniment. Film quality is not great, but it is apparently all that we can get. Recommended.

TWO ARABIAN KNIGHTS has been restored by Flicker Alley and TCM after being unavailable for decades. The film is the only recipient of the "Best Direction of a Comedy Film" Academy Award that was only given out in 1927-1928. William Boyd and Louis Wolheim are two feuding G.I.s that are both captured by the Germans in World War I. The film is more of an adventure/comedy rather than a straight comedy. They have a suspenseful escape from their prison camp, only to be recaptured and sent to Turkey. They end up being stuck on a train, and a ship, as well as well as being marked for death by an Arab suitor. A very young and beautiful Mary Astor is a veiled woman who boards the ship and is a target of romantic advances by both men. Look fast to spot a very young Boris Karloff as the ship purser. Louis Wolheim has a face only a mother could love, but he is perfect in his part as the gruff sergeant.

I'm not sure how this film could have beaten out Chaplin's THE CIRCUS, Keaton's STEAMBOAT BILL, JR. and Harold Lloyd's SPEEDY for the "comedy direction" Oscar. Still, it is a fun, sophisticated, and exciting film that is well written. I particularly liked the scene where they escape from a jam with a little help from God (or Allah). If you like silent films, you won't be disappointed.

Not very many movies come to my mind that covered as much geography as this one.

Naturally, being a Hollywood product, there is not a whole lot of realism here, but there is a whole lot of entertainment, and a whole lot of talent.

Louis Wollheim apparently never became a household name, but his performance in this film would indicate he should have.

In one priceless scene, when, without inter-titles, the Bill Boyd character whispers the explanation of a word (often found in the Bible), Wollheim's expression almost makes the whole movie worthwhile.

Lewis Milestone's direction is another plus. This was still early in his career, but his use of inventive angles and a moving camera showed brilliance.

Ian Keith made a superb suave villain in one of his best roles.

Being a silent film, "Two Arabian Knights" probably won't be shown even on Turner Classic Movies very often, but I urge film fans to grab any opportunity to watch it.