Schéhérazade

I was an Australian Israeli doing 31 days reserve army duty in the Israel Defence Forces during the 1968-69 War of Attrition along the Suez Canal. My duty at this time was driving a Dodge truck with a young army movie projectionist, a movie projector and a portable screen. We were given just the one movie, 'Song of Scherezade' with Yvonne De Carlo, and we were ordered to show this film as entertainment - even though sometimes we were under fire from the enemy - to the guys in all our heavy gun positions along the Canal. I had no choice but to sit in the sand and watch this movie 31 times, and I ended up knowing the dialogue off pat. It was a funny experience, but it also got a bit hairy at times, and to top it off, I was wounded on the 31st day which was my last day of service. I have nearly finished writing a story about this crazy experience, but it all happened 37 years ago and, being 74 years old now, unfortunately, there's no way can I remember any of the dialogue. I desperately need to get hold of a video or DVD to help me out with this problem. So far I haven't had any luck and this is why I am sending this email to you. It would be great if maybe you could tell me where I could pick up a copy of the movie.

Biography films are an odd genre; composer films are in a class by themselves. Facts are brushed aside blithely in this film. Korsakov was in the navy and wrote some music while aboard ship. That is the total agreement with history of this film. Add to this the vision of poor Yvonne De Carlo's out-takes of nearly falling over while dancing and you have one of the lamest composer movies ever. So why is this movie so much fun? I think it's the Viennese operetta feel of the piece: logic should never intrude on fun. And Eve Arden's dry delivery doesn't hurt either.

I saw this movie as a Russian speaking teenager in Boston, but it couldn't have been further away from anything truly Russian. I had already studied a lot of Russian music and dance and so was anxious to see a film about one of my favorite composers: Nicholi Rimsky Korsakov. I couldn't have been more disillusioned. The Rimsky Korsakov that I knew from pictures in books wore glasses and had a long beard though he could have looked a bit like Jean Pierre Aumont when he was young. He certainly was in the Russisn navy and did travel all over the world but his life was absolutely nothing like that portrayed in the film. Even so, that's Hollywood and it was enjoyable though hilarious. Eve Arden couldn't have been worst cast, though I always loved her witty remarks and wise cracks in all her movies. But as a Spanish Duena? And wearing a Mantilla? Really! Yvonne De Carlo was surely beautiful but a dancer? Never. And who on earth did her choreography? I understand dummying down choreography for non dancers to be able to do, (called sham dancing) but surely it could have been a bit more inventive than this. Then, low and behold, she is dancing as Prima Ballerina at the Bolshoi Theater no less. OK, when in doubt, use a tambourine. Forget that Scherezade (only in the Ballet Russe repertory and not until 1920) as a ballet was never given at the Bolshoi in Moscow until the 1980s. And as Prima Ballerina in this silly version, (not even in toe shoes) she meets Rimsky (presumably during intermission) on the front steps of the Bolshoi wearing wedgies in the Moscow snow. AND, who on earth was the kid dancing with her on stage? Was it her little sister or the grand daughter of one of the producers from a local dancing school? Neither one would be allowed to even set foot on the stage of the Bolshoi let alone dance, even back during that time; 1880 or thereabouts. Brian Donlevy strutting around in a dance belt, puffing out his bare chest. Is this what one reviewer here was referring to as homo erotic? I suppose so, for 1947, but he sits in a box at the Bolshoi where he wouldn't have even been allowed past the front entrance, cigarette and all. But actually, I really love this movie for all its silliness and somehow I even managed to get it on tape, possibly it was shown on TV back during the 1980s. It's time I take another look at it. Yvonne De Carlo went on to be a star on Broadway and of course as Lily Munster on TV. Jean Pierre later married Maria Montez. Could that be right??? An added note: Years later, while in Moscow, I saw a Soviet version of Rimsky's life. Much more authentic of course with wonderful actors and in gorgeous Soviet color but of course no equal to MGM's production values. I think it was just called "Rimsky Korsakov's Life". They also did one on "Mousorgsky" another Russian composer. That was during Soviet times. I don't think Russian film industry would attempt such films now.

We loved this film specifically for the amazing musical score. Jean-Pierre Aumont (RIP) is the handsome-but-nerdy Russian composer, Nikolay Rimsky-Korsakov, whose wing man is the illustrious tenor Charles Kullmann (RIP) from the Metropolitan Opera - - WOW. Yvonne De Carlo also gives a very lovely performance.

The story line is a little too drawn out, but well balanced as a while, with quite a few amusing and touching parts. The costumes, sets and choreography are remarkable, as only the films of that era could be.

Does anyone recall whether it was this movie (Song of Scheherazade) that was "narrated" by a camel? Or am I mixing this up with another movie from the late '40s/early '50s era of that ilk? I definitely recall the lead actors, i.e., DeCarlo and Donlevy. Since I was just a kid at the time, and don't recall much else about the movie myself, except for the talking camel (if this is the correct movie!), I can only go by the fact that my parents enjoyed the picture and the high point for me was the camel making comments from an inset in the corner of the screen. My general impression on recollection is that it was fairly enjoyable and suitable for the whole family to attend even if the kids didn't really "get it". There must have been enough action, and of course the color photography was enough to keep the kids satisfied. Movies from the "olden" days are more clever, since they didn't have all that computerized gadgetry to work with yet got the neat-o special effects. It was a wonder in 1947 (to a kid, anyway) how they got that camel to TALK and put him up in the corner!