South of Algiers

A British adventure; A story about a British archaeologist and an American philanthropist searching for an ancient, fabled golden mask in a Roman tomb in Algeria. They have to contend with dangerous looters out to steal the artefact. This schoolboy style tale lacks originality, but it gains for being colourful, with marvellous scenery and locations, and the cinematography of desert scenes are stunning. It was mostly filmed on location in Algiers and Tunis which are the main attractions for viewers. Scholarly Eric Portman and jaunty Van Heflin provide good contrast and conflict. Wanda Hendrix provides adequate support and all the supporting and local players are impressive for all their contributions. All in all, it is crisply directed but low key for its subgenre.

When a film location has to change from Egypt because a fresh revolution going on there to Algeria and Tunisia where revolutionary activities were just getting into high gear against the French you know this has to be one hard luck film.

American novelist Van Heflin looking for material for a new book teams up with archeologist Eric Portman on a desert dig near the ruins of Carthage. The hunt is for a legendary Golden Mask belonging to a Roman conqueror back in the day.

Along for the ride is Portman's daughter Wanda Hendrix, Portman's daughter who Heflin falls for. There are also a couple of crooks along to try and steal this archeological treasure.

This film was Van Heflin's first foray into European film making and it looks like his paycheck cleared. I saw this film over 50 years ago on television and remember being colossally bored with it. It's not come out on DVD or any other media so I can only write this review from distant memory.

Van Heflin risked revolution for this. He's a reliable and competent aqctor, but even he's entitled to a Thanksgiving feast.

The thing that struck me about this movie was how much it set itself apart from similar 'treasure hunt' movies of its day. None of the acting was so overdone that it became unbareable. And the authenticity of the setting and location were extremely refreshing, peeking through the dusty cotton print that has survived. Van was actually cool. He didn't do any big cliches that was criminal. The Egyptian cast was first rate. No Peter Lorre's and miscast Europeans playing the native tongue to the ground. Jack Lee. BAM.

I watched this film for Van Heflin and Eric Portman; both usually excellent when given some half decent material. Here they floundered, unable to make something of the dreary dialogue and predictable plot. There was jerky editing of the film, with obvious back projection and use of actors' doubles on location, as well as location shooting cut in from another (bigger) budget film (maybe Portman's and Thorold Dickinson's earlier 'Men of Tomorrow') mixed up with studio close ups. The mix is very uneven and after a while it becomes part of the entertainment to spot whether it's a) studio b) location c) doubles etc Van Heflin does his best, trying to instill some oomph into his supposedly devil may care risk taker entrepreneur character. Trouble is Heflin looks as though he checks the risk percentage on ev ery step he takes. Portman has to watch endless tribal singing and dancing, probably taken from that other African film cut into this one. Wanda Hendrix has so little to do she could have phoned her performance in. However it passed away an hour or so on a wet winter's evening.

Racism is implicit in this movie: the cast and crew must have smelt the coming rebellion against French colonial rule. All the Arab characters were played by Europeans, albeit the main Arab role, "Thank-you", was played by an Indian-Englishmen, who'd gone to Oxford, was probably the most educated person on the set. He seemed to be heavily made up, with skin darkening, which reminds me that the English in India sometimes referred to Indians as "blacks" (one of the nicer terms). There was one name in the cast, "Abdie", whom I cannot remember, who was played by "Massoud". Well, how did the audience like it? How did the audience react to little Jasmine and her brother with their donkey? How did these two "desert Arabs" come to speak English? Racism is a sort of romance, where at the end the romantic ones slaughter those about whom the romance is written. That's the plan, anyway. In actual life, usually it is the racist-romantics who get slaughtered, or at least lose their empires. Can we say that the plot, concerning an ancient Roman, "Marcus Manelius", a looter of a city of the other ancient empire in the region, Carthage, successor to Phoenecia, warns us of the fate of all empires? Is that the actual message of the movie with Van Heflin's gentle humor?