In ancient Bagdad, Hafiz is a beggar - self coined the King of Beggars - and a master of the slight of hand. He often likes to wander the streets late at night pretending to be a Prince, ... See full summary »
An ex-husband and wife team star in a musical version of 'The Taming of the Shrew'; off-stage, the production is troublesome with ex-lovers' quarrels and a gangster looking for some money owed to them.
Two Americans on a hunting trip in Scotland become lost. They encounter a small village, not on the map, called Brigadoon, in which people harbor a mysterious secret, and behave as if they were still living two hundred years in the past.
Like a tale spun by Scheherazade, Kismet follows the remarkable and repeated changes of fortune that engulf a poor poet. It all happens in one incredible day when Kismet (Fate) takes a hand.Written by
The word kismet comes from the Arabic word kismat, meaning "division, portion, lot". Basically, it means your fate or your destiny. It was Hajj's destiny to succeed. See more »
Prior to the start of "Not Since Nineveh", Dolores Gray takes the gold purse from the Wazir to throw coins. When she's finished, she tosses it back to Sebastian Cabot which the actor fumbles and drops at his feet. During the song, the bag disappears and reappears at times and ends up behind his feet. It finally disappears by the end of the dance. See more »
On days when my lord groweth restless / and bored with his sword and his plume. / His handmaiden hath what he needeth. / And what doth he need? Rahadlakum!
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The splendor is hollow...a pale version of the Broadway hit...
It's as if someone took a shredder and put the script and the songs through it, leaving just a patchwork of odd scraps and pieces that are good--a case where the sum is not as good as the parts. The once beautiful score lacks the musical treatment given it in the stage version--and even the wonderful Howard Keel can't compensate for the shortcomings. He seems to be play-acting all the way through, forcing himself to overcome the weak script and playing the role so broadly he might as well be playing to the third balcony.
The cast tries hard but somehow nothing seems to jell. Even the fine singing voices of Ann Blythe and Vic Damone can do little to make "Stranger in Paradise" seem more than a routine number, as awkwardly staged as it is. The other songs based on the classical Borodin themes are lackluster in performance--surprising in view of the fact that this is an MGM musical. Dolores Gray has some good moments but Monty Woolley is wasted.
Vincente Minnelli's direction is less than inspired. Lavish and gaudy as the production is, it has a stagebound look that it never overcomes. Considering all the talent involved, this is a ho-hum project indeed!
According to reliable reports, Minnelli detested the assignment. He had seen the Broadway show and thought it corny and witless. He had no enthusiasm while making the film and it finished shooting in a quick two months without all the retakes he usually required. The hastiness shows in the finished product.
According to Stephen Harvey's book, "Directed by Vincente Minnelli", when the film was previewed one of the viewers gushed, "This is as good as Lana Turner's pictures!"
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