O Ladrão de Bagdad

With Douglas Fairbanks, an entertaining story, and all sorts of interesting sights, this classic is lots of fun to watch. The settings, costumes, and story put you convincingly into a fantasy world, and Fairbanks gets plenty of help both from these and from Anna May Wong and the rest of the supporting cast in making the characters come to life.

The first half is pleasant, although sometimes rather slow, as it sets up the rest of the story. Fairbanks has a perfect role for him as the good-natured thief who falls in love with a princess and then gets involved in a lot more adventure than he had planned on. His energy and believability, along with the interesting sets, carry the first part of the movie. The second half, when Fairbanks and his rivals are sent off on their quests, is full of adventure and fascinating detail. It's done with plenty of creativity and also many lavish special effects, most of which still work well. The excitement level is built up nicely in leading up to the action-packed finale.

It's a movie that is both enjoyable and skillfully made. It would have to rank among the best adventure/fantasy stories made in the silent film era, and it's still as entertaining as just about anything of the kind being made today.

...Douglas Fairbanks brought grace and poetry to physical action on the movie screen. Fairbanks essentially invented the action/adventure movie genre, known in his day as swashbucklers.

"Thief of Bagdad" was made in 1924 when Fairbanks was half way through the heyday of that part of his career. He already had "Zorro" "The Three Musketeers" and "Robin Hood" behind him. "Thief" was something of a departure, however, for it depended less on Fairbanks ability to dance his way though physical stunts than it did on the Arabian Nights tableau it presented on the screen. And frankly, nothing like it has every been done since. Only Griffth's "Intolerance" created the same kind of feel, and it was gritty and warlike, where as "Thief" was a sort of wondrous dream about what it would be like to live by your wits, go off and slay dragons and eventually, win the hand of a princess by saving her father's kingdom.

Fairbanks was over 40 when he made this film and yet seems so perfectly suited for it that we forget his age. He is the embodiment of the dashing hero.

But what almost overshadows him are the sets themselves. Designed by William Cameron Menzies, they are beyond spectacular. Almost every frame of this film is a work of art and of course, the amazing thing is, this was not done through computer animation. So skillful are the designs and the camerawork, that it is almost impossible to tell where the sets stop and the matt paintings begin.

Credit for all this must also go to Fairbanks,who wrote the script and produced the film. Raoul Walsh's direction is also great, although the film is a little long in some spots and would be aided by some skillful editing.

Fairbanks acting style seems today very much of the silent era, yet at the same time, there is always the feel of joyous celebration to it. He was always something of the happy rogue or perhaps, a guy who realized he was getting to make a living by playing in the world's most wonderful sandbox. He was blessed with good fortune and he knew it.

Of the others, Julanne Johnston, who plays the princess, probably comes off the worst of the main characters. She is beautiful,but comes off as little more than window dressing. But cudos to the incredible Anna May Wong who plays the treacherous Mongol slave girl. Wong's great beauty and strong screen presence allow her to steal almost every scene she is in. That Wong never got the chance to play many lead roles is one of the great tragedies of Hollywood history.

...Douglas Fairbanks brought grace and poetry to physical action on the movie screen. Fairbanks essentially invented the action/adventure movie genre, known in his day as swashbucklers.

"Thief of Bagdad" was made in 1924 when Fairbanks was half way through the heyday of that part of his career. He already had "Zorro" "The Three Musketeers" and "Robin Hood" behind him. "Thief" was something of a departure, however, for it depended less on Fairbanks ability to dance his way though physical stunts than it did on the Arabian Nights tableau it presented on the screen. And frankly, nothing like it has every been done since. Only Griffth's "Intolerance" created the same kind of feel, and it was gritty and warlike, where as "Thief" was a sort of wondrous dream about what it would be like to live by your wits, go off and slay dragons and eventually, win the hand of a princess by saving her father's kingdom.

Fairbanks was over 40 when he made this film and yet seems so perfectly suited for it that we forget his age. He is the embodiment of the dashing hero.

But what almost overshadows him are the sets themselves. Designed by William Cameron Menzies, they are beyond spectacular. Almost every frame of this film is a work of art and of course, the amazing thing is, this was not done through computer animation. So skillful are the designs and the camera-work, that it is almost impossible to tell where the sets stop and the matte paintings begin.

Credit for all this must also go to Fairbanks,who wrote the script and produced the film. Raoul Walsh's direction is also great, although the film is a little long in some spots and would be aided by some skillful editing.

Fairbanks acting style seems today very much of the silent era, yet at the same time, there is always the feel of joyous celebration to it. He was always something of the happy rogue or perhaps, a guy who realized he was getting to make a living by playing in the world's most wonderful sandbox. He was blessed with good fortune and he knew it.

Of the others, Julanne Johnston, who plays the princess, probably comes off the worst of the main characters. She is beautiful,but comes off as little more than window dressing. But kudos to the incredible Anna May Wong who plays the treacherous Mongol slave girl. Wong's great beauty and strong screen presence allow her to steal almost every scene she is in. That Wong never got the chance to play many lead roles is one of the great tragedies of Hollywood history.

I first viewed this movie in 1924 at age 6 yrs--probably the first movie I ever saw. I thought it was terrific then, and after viewing it again now(2003) I still think it is an exceptionally fine movie. Many special effects without benefit of computers. A very ambitious movie for that time.

"The Thief of Bagdad" was my first introduction to Douglas Fairbanks Sr. and, as first impressions go, I've not been this impressed with an old-time film star since I watched Fairbanks' cinematic successor, Errol Flynn, begin creating his own legend in "Captain Blood".

The imagination and power of the visual design of the sets by Raoul Walsh make a nice complement for Fairbanks' script. Having read some of the original material from Sir Richard Burton's unexpurgiated translation of the Arabian Nights (that is, the uncensored, unwatered-down version that most of the general public is familiar with), I can honestly say that, while this story is in none of the tales I read, it would have been a perfect fit within Scherazade's many fantastic tales of moral instruction. The language, the situations, the magical artifacts, the transformation of a callow youth into a great (if still wily and underhanded) hero...they all so accurately reflect the atmosphere of those wondrous tales that I have read and enjoyed.

As for Fairbanks himself, well...is there any red-blooded American boy who HASN'T wanted to be like him? Maybe the boys of today wouldn't recognize the name, but five bucks says that they would definitely recognize the attitude and the style. Charming, smart, irresistable to women, tough enough to take on the bad guys, gifted with a physique that borders on the unbelievable...he's every boy's greatest heroic fantasy come true.

All that said, another reason "The Thief of Bagdad" is important AND fun is because it really marks the starting point for the modern genre of action-adventure films. The use of humor is extensive (my favorite bit being Fairbank's method of "touching" a particular bush), helping keep things from becoming TOO serious for it's own good. Then there's the use of special effects, some very hokey by today's standards, but probably state-of-the-art for it's time and still very impressive, considering the time period this film was made. There's also the touch of romance that helps sweeten the tone. Though subsequent offerings have not had as deft a touch as this film does, this would be a logical beginning to that tradition. Finally, there's the final confrontation between the protagonist and antagonist, but I truly doubt that anyone has ever come up with a showdown that relied more on brains than brawn as this one.

Don't let the age of this film offput you. Like it's inspiration, it weaves Scherazade's song with a melody that has yet to be outdone (though it has been matched during subsequent decades).