Two Arabian Knights

Turner Classic Movies showed this silent, B&W flick today (Aug 29, 2007) on TV.

Solid classic adventure story, complete with all of the key ingredients: exotic plot locations, a beautiful woman in peril, a pair of dauntless and resourceful heroes (one of them handsome, the other colorful) grossly outnumbered by badguys, sprinkled with comic relief. Great costumes and sets; as good or better than those of current movies. Surprising variety of camera craft and directorship; pans and zooms including overhead angles, and closeups of key characters and objects. In this regard again it seems like a modern movie! Actions convey the story very well; without the benefit of a soundtrack. Of course, this entails a considerable degree of live type acting (similar to that seen in plays), but I did not get a feeling of melodrama like is all too common in most silent films and early sound movies.

The most enjoyable performance is played by Louis Wolheim as the rough edged but colorful Sgt. Peter O'Gaffney, who was *perfectly* casted for the role; considering both appearance and skill.

There were at least a few peculiar facts about Muslim society that I had previously learned over the past several years, which added to my appreciation of the story in the area of historical accuracy.

My favorite scene was when the heroes are fleeing a swarm of dangerous, sword wielding Arabs through the narrow streets of a busy Muslim city. Suddenly though the chase is interrupted by an oblivious imam who pops out onto an exterior balcony to announce that it's time for afternoon prayer. Everyone out on the streets (except for the heroes) religiously obeys Islamic law and momentarily kneels down, which allows the heroes to escape. That scene was just one example of the film's many expressions of originality.

After seeing this movie I better realize how extensively modern movies contain rehashed ideas that were pioneered decades earlier.

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.

TCM came through by acquiring this wonderful, silent, comedy/drama for television. Until recently it had been locked away in an achieve somewhere. It premiered on TV for the 1st time since its theatrical release in 1927. Two Americans fighting in World War I (William Boyd and Louis Wolheim) are hiding in a defensive position with German soldiers advancing. They however are fighting with each other and working the nerve of one-an-other. They of course are caught, but after an inventive escape they are taken on a whirlwind adventure in Arabia, with all the humor you might find in an Abbott and Costello movie. Very funny and sometimes even touching. A great silent picture and winner of an Academy Award for "Best Comedy Direction". Directed by Lewis Milestone.

William Boyd and Louis Wolheim are the "Two Arabian Knights" referred to in the title, humorously. The pair start out as U.S. POWs trying to escape from the Germans during World War I. Eventually, they find themselves on board a ship bound for Arabia. While tripping out to the Middle East, they rescue an Arab woman, Mary Astor, who turns out to be a Princess; and, of course, becomes a romantic interest for the "Two Arabian Knights". No points for guessing who wins the veiled Ms. Astor!

The film is very well photographed and directed; Lewis Milestone has wonderful sets, and stages scenes beautifully. Of the performances, Mr. Wolheim stands out - he creates a character so understandable you can almost hear him speak, trough the film is silent. The story isn't as strong as it could be - there are some events and sequences which had me wondering how and why the characters' locale changed. The last looks, exchanged between one of the stars and an extra, is an example of something I didn't understand. Perhaps these were comic bits which had a particular appeal for the time.

The film is damaged in several places; but there is enough preserved, in even these scenes, to allow your mind to fill in the visual blanks. Boris Karloff appears as the "Purser"; watch for his big scene on ship, when Wolheim goes into a room with him for some money (what actually happens is a mystery). Early in the film, there is a long scene with a lot of naked men shown from the waist up (or, thereabouts); they are POWs being herded to the showers. Director Milestone uses parades of soldiers moving to great effect; this "shower" scene is different in that several of the men don't look as Caucasian as you might expect.

******* Two Arabian Knights (9/23/27) Lewis Milestone ~ William Boyd, Louis Wolheim, Mary Astor

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.