Ali Baba et les quarante voleurs (1954) - film review

Ali-Baba is sent to the local market to buy a new slave-wife for his master, Cassim.  He returns with the beautiful Morgiane, and the lascivious Cassim is more than pleased.  Aware of Morgiane’s unhappiness, Ali-Baba sets off to buy her a parrot to cheer her up.  A hoard of armed bandits suddenly appear and, terrified, Ali-Baba hides in a basket.  He is taken to the bandits’ secret treasure store – in a cave which opens to the words “Open, Sesame”.  When the bandits have gone, Ali-Baba emerges from his hiding place and can scarcely believe what he see.   Enough wealth to make him the richest of men in Arabia...

It has to be said that this is not Jacques Becker’s best film.  At worst, it is a pretty bland re-telling of a very familiar fairy tale, with lukewarm comedy, drawn-out dance routines, and a rather tatty ending.  However, for all that, the film does show some signs that this is the work of a great director.

The action is often fast and fierce, and strong characterisation is reinforced by good acting performances. Fernandel is (typically) magnificent, despite a lacklustre script which goes nowhere near to exploiting his comic potential.  Above all else though the true genius of this film – if indeed there is any – lies in the staging and photography.  The sets are meticulously detailed and constantly busy.  There are beautiful panoramic shots of Arabian landscapes which are impressive even by today’s standard.  And some of the crowd scenes are truly awe-inspiring, just in terms of the numbers of people involved.   As a comic drama, the film leaves a lot to be desired.  But, concentrating on the visuals, one senses that this is a little work of art.

© James Travers 1999

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