KISMET
US, 1944, 100 minutes, Colour.
Ronald Colman, Marlene Dietrich, James Craig, Edward Arnold. Hugh Herbert, Joy Ann Page.
Directed by William Dieterle.
Kismet is a popular Arabian Nights fantasy. Based on a play by Edward Knoblock, it was filmed in the 30s. However, the lavish M.G.M. production given to it in the 40s was an example of escapism for audiences during the war. Ronald Colman has time off for a rather elegant comic role as the hero King of the Beggars. Marlene Dietrich has an exotic time as Jamilla and has an exotic dance with her legs covered in gold. It is a highly flamboyant and exaggerated performance capitalising on her reputation and impact at the time. James Craig is particularly American as the Caliph but Edward Arnold enjoys himself as the Grand Vizier. The sets and costumes are quite lavish and direction is by William Dieterle, noted for his biographies at Warner Brothers in the 30s and 40s. The musical remake starred Howard Keel and Ann Blyth in the central roles and Dolores Gray took Marlene Dietrich's role. Vic Damone was the Caliph. It was entertaining and lavish, with music from Borodin and the film was directed by Vincente Minnelli.
1. The appeal of popular fairy tales and escapism? Impact in the 40s, now?
2. The impact of the lavish sets, decor, costumes? The stars and their particular styles and reputations then. now?
3. The title and its focus on fate, the overtones of the Arabian Nights? The light touch and tone with the credits, the opening of the book and the explanation of the characters and the situations which were to follow? Happy coincidences, crises, dangers? The popular ingredients of the fairy tale - for adults with the King of the Beggars and his princess, for younger audiences with the maiden and the handsome prince marrying her? The overtones of violence? The happy ending?
4. Ronald Colman's style as Hafiza? As King of the Beggars and illustrating his skills, as father to Marsinah and his strictness, his dreams for her? Disguised as the Prince of Hassir and his encounter with the Caliph, with Jamilla? Living in a fantasy world in New Bagdad? The growing complexities - the Vizier and his oppression, Hafizal's pretence to be the prince after robbing the clothes and the jewels, his being feted in the palace, the encounter with Jamilla and her dance, his bargain for his daughter to come into the harem, his bargain for the assassination - and his failure? Audience sympathies at this stage of the film? His failure in the assassination, his escape, his rescue of his daughter and Jamilla, the fight with the Vizier and his death? Exile? His repentance and reinstatement?
7. Marlene Dietrich's presence and performance as Jamilla? Her place in the harem, her rendezvous with Hafiza, her moods, confrontation with the Vizier, her motivations for dancing, the exotic golden dance, her reaction to Marsinah coming to the harem, her response to the truth about Hafiza's poverty, her participation in the escape? The prospect of the happy ending in exile?
8. The Caliph and his disguise, his rendezvous with Marsina? Plans for his marriage, the mix-ups, his processions and judgments, the assassination attempt? His finding his bride? Marsinah and her love for her father, the rendezvous, her longings? Her being guided by Karsha? Her going to the Vizier's palace, her reaction to her father, the happy ending? The ingredients of the fairy story?
9. The Grand Vizier and his cruelty, assassination attempts, his hosting of Hafiza, the bargain for the assassination, its failure and the confrontation and his drowning? The villain of the piece?
10. The world of the beggars and their attitude towards Hafiza? The court and the Caliph and Agha and his advice? The exercise of judgment? The world of the Vizier and his harem? Hafizal's household and Karsha's guiding of Marsinah?
11. The comic touches, the arch and ironic dialogue, the contrived fantasy, the flamboyant style? The nature of its appeal?
12. The continued fascination of fairy stories despite their impossibility, unreality? The appeal of fantasy and dreams? The alternate television title of this version of Kismet was Oriental Dream - how appropriate?
