O Jardim de Allah

This is, I believe, only the second movie to be made in the gloriously new three-strip Technicolor process, and it must be said that cinematographer Howard Greene and Selznick's always reliable crew of art directors turned in a stunning performance. At a time when color was not well understood by most technicians, these guys pulled off a virtuoso turn. The thing looks fabulous from end to end; lovely desert shots under all kinds of lighting conditions, and a generally underplayed and painterly use of color.

Then there is the music: one of Max Steiner's most magical scores, although unfortunately renters of the video will not quite be able to appreciate it as it deserves to be. Max wrote nearly two hours of music for what turned out to be a 79 minute picture; a good deal of it was lost and Selznick's sound engineers had a tendency to mix it under in such a way that its distinctiveness is much muted. This problem is exacerbated in the usually reliable Anchor Bay's VHS issue; they went overboard with the noise reduction filters and the result in many places is a blurry mush that does scant justice to Steiner's often piquant scoring. (Later: In the DVD this has been largely rectified). Some of the best passages were left on the cutting room floor altogether... All of this visual and audible loveliness has been lavished on a story of truly astonishing triviality, which is a pity, as the Robert Hichens novel had rather more depth. (Count Antioni, for instance, is a converted Muslim in the book; but 1936 Hollywood would not tolerate that. Would they today, I wonder?) Marlene Dietrich has to be the only woman on earth who would wander about the uncharted depths of the Sahara in high heels and a Travis Banton silk confection of a gown; the most horrendous sandstorms fail to displace a single hair of her coiffure. Charles Boyer strives manfully with awful dialogue and almost brings it off. Second tier characters like Joseph Schildkraut and the ever stalwart C. Aubrey Smith fare better, and Basil Rathbone is always good to see. Tilly Losch's hoochie- koochie dance in the Arab dive is positively embarrassing. The whole thing was definitely a miscalculation on Selznick's part, and he lost a bundle. Nevertheless it is well worth a look if you are a student of early color. Film music aficionados will have to take my word for it on the superb qualities of the score; the existing movie barely hints at them. This music cries out for a good new recording, like the many others that are coming out these days of classic picture scores.

If you did "The Garden of Allah" today, you'd have to play it for camp. As produced in 1936, it nearly is anyway.

Marlene Dietrich, Charles Boyer, Basil Rathbone, C. Aubrey Smith, and Joseph Schildkraut star in this David O. Selznick Technicolor production. The story concerns a religious woman, Domini, who is in mourning for her father and visits the convent where she lived as a child. The Mother Superior encourages her to go out and live, as she was her father's caretaker and didn't get out into the world.

She meets Boris Androvsky, and he seems even more unfamiliar with the world than she. What she doesn't know is that he was a Trappist monk and has left the order. The two fall in love and marry. However, someone eventually recognizes him, and his secret is revealed.

I have to say, I feel sorry for any ex-Trappist monk running into gorgeous Marlene Dietrich, especially under a desert sky. The atmosphere of this film is very moody, the color beautiful, and the photography sensational. Filmed in California and Arizona, it looks for all the world like an exotic desert setting.

Even with all this, and a young, handsome Charles Boyer, the film comes off as melodramatic and slight. Partly I blame the overly-dramatic music, but let's face it, the script isn't very good.

Marlene Dietrich is very good and underplays her role; Boyer's role is really impossible. He's confused and miserable through most of it. He was an excellent actor and pulls it off, though. Rathbone doesn't have a big role, nor does Schildkraut, but they were two of the best character actors around.

"The Garden of Allah" is definitely worth seeing - it's wonderful to look at, and when you see the Cyndi Lauper video of "Time after Time," this is the film she was watching in the beginning of the song.

Whatever was Selznick thinking when he wasted so much gorgeous Technicolor photography on so much tripe? For a producer renowned for elevated the level of adult entertainment in the 1930's, it's shocking to see him select a script designed to appeal to the 3-year-old romantic in all of us. Not even the powerhouse leads can save this sandblown mess: Boyer's customary sincerity and craft is subverted by the preponderance of pretty-boy glamour shots that rival even those of Dietrich, and by the script's demands that he engage in silent-film "face acting" which was wildly inappropriate in the mid-30's, albeit even for characters experiencing spiritual crises. (However, the manful and professional way in which he handles these indignities is quite admirable.) And, Marlene's contempt for the proceedings fairly radiates from her porcelain mask of a face (which is no mean feat!); all the diaphonous gowns in the world can't disguise her phoned-in performance. She reportedly hated the sweltering location filming, causing her to fix her hair with bottles of hairspray, improbably turning it into a rigid helmet in the desert winds! (In all fairness to her, though, this must have been a difficult film for her, for she was in the midst of grieving for John Gilbert, who was to have taken the Boyer role.) Bottom line: savor the glorious, original Technicolor shots, and chuckle at the tacky dramatics.

After watching this film on Turner Classic Movies, the host, Robert Osborne, said that "it's best to ignore the story" and just enjoy the film! This is a great way to sum up this odd little film. In some ways, it's a terrific film--it's one of the prettiest color films of the 1930s and is a real artistic triumph. However, despite the masterful color filming, it's an incredibly dull and uninspiring film--thanks to a very tepid script.

In a bit of a departure, Marlene Dietrich plays a rather decent and chaste woman instead of her usual 1930s vamp. Oddly, however, the magnetic Charles Boyer is given the limpest and least interesting role in the film. He plays a monk who has left his order, but instead of a man searching for SOMETHING outside the monastery, he just looks rather constipated and confused--mostly staring into the camera or looking rather depressed. How Marlene fell for this dull yutz is beyond me! Because of this character, the film itself just seemed silly and trivial. BUT, combined with the great camera-work, it is still worth a look--just don't set your hopes too high!

Much abuse has been heaped upon this film in users' comments here ("tripe," "hokum," etc.) and, yes, in later years even Marlene herself called it "twash," (along with most of the rest of her movies). But it's gweat twash and, in all fairness, much-loved weepies like "An Affair To Remember" have got nothing on this picture. The fabulousness (that's definitions 1 & 2 in Webster's) of the plot, the emphatic performances, the overblown dialogue and the sheer absurd audacity of full silver service and "dressing for dinner" in a tent in the middle of the Sahara; these are the very things for which you watch such a film. After all, if life was never like this anywhere, at any time, it sure should have been.

The user who suggested the "right mood" is necessary is absolutely correct, and it helps to remember the perspective of audiences of the time who, while the Depression dragged on, desired escapism that bore no resemblance to their real lives. We certainly have our escapist fare today and, believe me, "Spiderman," "The Matrix" and "The Fast and the Furious" are going to look at least as ridiculous - if not more so - after a half-century (if not before). So, please, let's not have any more carping about implausibility.

The aspects that have garnered the most criticism are some of the very elements that make it so much fun, but you must abandon your jaded cynicism and surrender yourself to the experience. I'd never recommend this film to everyone I know, but of those to whom I have done - people I knew could appreciate it - not one has gotten all the way through it without choking back a tear or two (if not outright bawling like a baby).

One thing everyone does seem to agree on is the ravishingly beautiful look of this picture, and they're oh-so-right about that. The DVD from Anchor Bay is particularly stunning - there are scenes that look like they were shot yesterday - so, if you decide to see the film, try to get your hands on a copy of that release.

Incidentally, this was not the first Technicolor picture in the three-strip process (as opposed to the two-strip, which goes back to 1922) shot on location, as one comment said. That honor most likely belongs to "Trail Of the Lonesome Pine," which was shot and released a few months earlier.