Tag Archives: Sabu

1940 Films, Adventure, British, Fantasy, Kids

The Thief of Bagdad-1940

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The Thief of Bagdad-1940

Directors Michael Powell, Ludwig Berger, Tim Whelan

Starring John Justin, June Duprez

Scott’s Review #1,555

Reviewed September 28, 2026

Grade: A

The Thief of Bagdad (1940) is an uplifting, heartwarming, and endearing adventure tale. It leaves you feeling good and believing life can have a happily-ever-after.

Made early in cinema history, it’s fascinating to watch the creativity from a special effects perspective and see how limited resources could somehow churn out magic.

Believe it or not, it’s a remake of a 1924 silent film and is marketed toward children; it still works for anyone.

Tricked and deposed by his sinister adviser, Jaffar, played by Conrad Veidt, Ahmad (John Justin), the King of Bagdad, must find a way to reclaim his throne before he is executed.

He enlists the unlikely assistance of a thief named Abu (Sabu). Ahmad soon meets a beautiful princess (June Duprez) when he poses as a genie, and the pair instantly fall madly in love.

He embarks on a series of adventures involving a real genie, a flying carpet, and other fantastical elements as he determinedly makes his way back to his love.

Ahmad and Abu must then face off against Jaffar and keep him from his desire for unlimited power.

In 2026, as it approaches 100 years since its release, The Thief of Bagdad remains a joyous experience.  It’s amazing to realize its influence, since the Disney film Aladdin (1992) borrows freely from it.

Both Jaffar and the dimwitted, toy-obsessed, yet kindly sultan, played by Miles Malleson, are recreated all those years later.

Pretty amazing.

The characters’ appeal is a main draw. Ahmad is easy to like as a benevolent, kind-hearted man. He wants to hear what the townspeople think and how they interpret their lives and surroundings.

A decent man, even when blinded by a curse put on him by the devious Jaffar, he does not become ruined.

Conrad Veidt, who deserved an Oscar nomination for playing Jaffar, makes the character stone-hearted and menacing. With his intense, steely eyes, he undoubtedly gave kids nightmares and maybe some adults.

Finally, Abu is a lovable character. Sure, he’s a thief from a generation of thieves, but we know it’s out of necessity alone. A good kid, he does what he must to survive.

His best sequence is a dazzling journey on a deserted beach. He finds a bottle and opens it, releasing an enormous genie whom he tricks into submitting to him and granting him three wishes.

Wisely, he makes the genie help Abu steal a magical jewel, the “All-Seeing Eye”, that enables him to find and reunite with Ahmad.

He’s a true friend and a wonderful character.

With hundreds of extras, filmmakers must have taken some liberties. Many appear to be inauthentically Middle Eastern, likely coated with bronzer. Some are black or Hispanic men.

The film makes up for the extras issue with brilliant sets and art design.

For 1940, the sets are impressive. Pinkish, blue buildings appear in the background during village scenes, but the palace is the most impressive set. With sophisticated pillows and linens, not to mention the colorful women’s dresses, it’s a visual treat.

The musical score is lovely and teeters between dark, sinister, tritonic music when Jaffar is in a scene and playful, mischievous music when it focuses on Abu.

One of the best fantasy movies of the 1940s, The Thief of Bagdad (1940) offers great special effects without any CGI.

Oscar Nominations: 3 wins-Best Original Musical Score, Best Cinematography (Color) (won), Best Art Direction (Color) (won), Best Special Effects (won)

1947 Films, British, Drama, Favorite Film of the Year, Top 250 Films

Black Narcissus-1947

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Black Narcissus-1947

Director Michael Powell, Emeric Pressburger

Starring Deborah Kerr

Top 250 Films #209

Scott’s Review #688

Reviewed October 5, 2017

Grade: A

A British film made in 1947 that is way ahead of its time, Black Narcissus is a brilliant foray into the mysterious entity of nuns and the bitterness, both from humanity and from the elements, that a group of nuns must face as they attempt to establish a new school atop the hills of the Himalayas.

The film’s look is as fantastic as its story, with incredible cinematography and a foreboding, eerie quality.

Black Narcissus is one of the great treasures of classic cinema.

Based on the 1939 novel by Rumer Godden, Black Narcissus tells the story of revolving jealousy, rage, lust, and tension amid a convent of nuns living in isolation.

Deborah Kerr, fantastic in the lead role of Clodagh, Sister Superior and leader of the group, faces the temptations and anger of men while dealing with an unbalanced nun, Sister Ruth, played terrifically by Kathleen Byron.

The cinematography and the art direction must be praised as the lavish sets are just that- sets. However, the average viewer will be whisked away on a magical experience where it seems the sets are real locales, high atop the Himalayan mountains.

Scenes depict howling wind, mist, and fog in a believable manner. All sets are built and structured, and Black Narcissus was filmed entirely on a set. This tidbit is unbelievable, given the realism, especially since the film was made in 1947.

The lighting in the film is unique, precisely the vibrant colors of the pink flowers and, later, the close-ups of Sister Ruth. A fantastic example of this is her descent into madness during the final act, as her face, maniacal yet lovely, is heavily featured. Her face appears bright and hypnotic.

The main event, though, is the tales the film tells, which are pretty edgy for the year the film was made. Religion is always risky, and the treatment of the nuns as real human beings with actual emotions, even lustful ones, is brazen.

Specifically, Clodagh (Kerr) is a fascinating study as the character teeters on a romance with the charismatic, handsome, local British agent, Mr. Dean (David Farrar), while attempting to forget a failed romance during her youth in Ireland.

Meanwhile, Sister Ruth spirals out of control, leading to a dire climax involving an enormous church bell atop the restored structure.

A slight misstep the film makes is mainly casting white actors with heavy makeup in the Indian roles instead of actors with authentic ethnicity.

This detail is glaring because the makeup used is not overly convincing, and the casting of the gorgeous Jean Simmons as Kanchi, a lower-class dancing girl whom the Prince becomes infatuated with in a subplot, is incredibly guilty.

Still, this pales in comparison to the fantastic story and look of the film.

Black Narcissus is a classic film that contains a bit of everything—drama, thrills, intrigue, gorgeous sets, lavish design, and even a bit of forbidden passion—and brilliantly executes all aspects of the film.

A film admired by critics and directors throughout the ages and explicitly championed by Martin Scorsese, it has the unique quality of getting better with each viewing.

Oscar Nominations: 2 wins-Best Art Direction-Set Direction, Color (won), Best Cinematography, Color (won)