In Ispahan, Persia, Hajji Baba is leaving his father's shop to seek a greater fortune, while the Princess Fawzia is trying to talk her father, the Caliph into giving her in marriage to Nur-El-Din, a rival prince known far and wide as mean and fickle. Her father intends for Fawzia to marry a friend and ally, and makes plans to send her to him.
As Aventuras de Hajji Baba, Les Aventures de Hajji Baba, Les Aventures de Hadji, Amazonas negras, Die Tochter des Kalifen, Приключения Хаджи Бабы, 沙漠历险记, As Aventuras De Hajji Baba, Le Avventure di Hajji Baba, Ørkenprinsessen, Hajji Babas äventyr
USAR
USA
En el cine de aventuras, al menos el que se realizó durante las edades doradas de Hollywood, dependía principalmente de dos factores: por un lado, las piruetas de sus actores protagonistas (de Douglas Fairbanks a Burt Lancaster); y por otro, el asombro que provocaban sus escenarios y el mundo seductor que retrataban. Pero en el caso de The Adventures of Hajji Baba es difícil destacar ninguna de esas dos cosas, porque es una película tan perfecta y tan medida que la única pirueta vemos, el único asombro que sentimos, es el del montaje, el de la experiencia del cine en su sentido más primitivo. Cuando Nur El Din abandona a Hajji Baba en el desierto, manda regresar a dos soldados…
Texto sobre o Pierre Rissient na coluna da Foco:
estadodaarte.estadao.com.br/cinema/foco-despedida-a-pierre-rissient/
Cotton-candy exotica, the kind of widescreen technicolor that fans of that kind of imagery go ape over. Some of the performances are really stiff, but the cheesecake/beefcake is plentiful (and that quickie scene that pledges winked allegiance to 50s bondage porn's a jaw-dropper) and there's scenery and costumes and... stuff.
My sugar rush wore off about half way through, but mmv. And there was a character I crushed out on strongly enough to take a screencap for my desktop. That doesn't happen every day, that's worth an extra star right there.
Don Weis’s adventure in which a crafty Persian barber (John Derek) impresses the harem and secures a princess (Elaine Stewart) by rescuing her from a nasty prince. With Thomas Gomez.
Set in Ispahan, Persia, the story concerns a barber who blunders an emerald ring as the prize to be sent to a prince known far and wide, only to accomplish that a fugitive Princess is the actual treasure awaited, oathing to bodyguard her to her last place.
John Derek gives an okay performance in his role as the title character, the baba who doesn’t show a huge amount of determination in terms of what to do with himself, which makes it annoying for the viewer, while Elaine Stewart is alright…
One of the treasures of Hollywood studio artifice and a cult classic of French cinephilia. The visual pageantry of Hoyningen-Huene pastels and Renié costumes produce a seductive excess of 50s fetishes, from bondage and harems to a matriarchal band of liberated slave-girls. Naturally it reproduces the orientalist baggage of its adapted 19th century British novel although, as if taking the idea of a dream-like landscape in its high adventure fairy tale to heart, Weis finds ways to interweave the singularly oneiric atmosphere into the film’s very fabric, like the titular theme whispered in refrain like a lullaby or the number of times characters are found either waking up or laying down, in particular Elaine Stewart’s bookending scenes.
Grande vigor e senso de aventura. E um glorioso cinemascope. Antecipa os filmes indianos de Fritz Lang.
Existem, para ver este filme, pelo menos dois pontos de vista possíveis.
Um seria, por exemplo, o de Robert Lachenay, que não vai nunca ao cinema sem levar no bolso um exemplar, agora bem desgastado, da “Psychopathia Sexualis”. Aqui estão alguns adendos que ele pode levar para seu célebre dicionário:
Hipoestesia: Hajji, que tem os ombros, mas também os longos cílios e os olhos aveludados de John Derek, proclama, desde a primeira sequência, que ele aceitaria todas as garotas bonitas – “se elas também me quiserem!” Efetivamente, todas as cenas de amor são inteiramente conduzidas por suas parceiras femininas. A Rainha das Amazonas o faz compreender, em termos tão pouco velados, como ela mesma , que sua vida depende de…
“El cine sustituye nuestra mirada por un mundo que se acomoda a nuestros deseos” (Michel Mourlet)
the height of 50's hollywood epic exoticism with john derek as a barber on the trail of adventure, elaine stewart as a runaway princess, and amanda blake as the leader of a desert warrior tribe of escaped harem girls. oh! and nat king cole crooning the theme music throughout. perfect saturday afternoon cinema
Magnificent landscape photography and a semi-rousing Dimitri Tiomkin score can do nothing to save this massively inept sword-and-sand saga. Richard Collins's thuddingly bad dialog is spoken as if at skit night at summer camp, and only worsens some of the most leaden performances imaginable. John Derek, that great thespian, grins like a capuchin monkey throughout but never makes a convincing sound or expression. Elaine Stewart as the haughty princess he seeks to rescue is quite a sight for sore eyes, but she almost matches Derek's exquisite incapability with the words on hand to speak. Every cliché conceivable is bounced around in this unripe Persian persimmon. The only thrill at all is a surprising cavalry battle fought by a troop of women warriors. But nothing can save the picture from its script. Oh, and Nat King Cole sings the title song... over and over and over and over. Oof.
Sou a favor do povo e não dos príncipes, mas acredito que a mise en scène deva fazer entender o quão importante é o menor gesto de um Príncipe, e quão importantes são as suas mortes.
Vittorio Cottafavi
No cinema hollywoodiano do pós-guerra, a corrente dos filmes de aventuras orientais, adaptados de perto ou de longe das “Mil e Uma Noites”, foi quantitativamente pouco importante, mas era ilustrada por tendências variadas. Na Universal dos anos 40, essa corrente dá origem, por exemplo, a toda sorte de narrativas espetaculares para as crianças, em que a inovação recente da cor foi particularmente valorizada (cf. As Mil e uma Noites, John Rawlins, 1942, ou Ali Babá e os Quarenta Ladrões, Arthur Lubin, 1944). No fim dos anos 50, o conto oriental reencontra seu caráter fantástico, favorecido por efeitos especiais particularmente atraentes (Simbad e a Princesa, Nathan Juran, 1958). Situado entre esses dois períodos, As Aventuras de Hajji Baba representa uma tentativa…
