The Garden of Allah
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Movie Reviews of The Garden of Allah
Movie Review: Beautiful restoration of a classic film
Summary: 4 Stars
All classic films deserve to be seen on their own terms. "The Garden of Allah" is a product of 1936 Hollywood and an excellent product it is!
Early in the film we learn that a Trappist monk has run away from the monastery and forsaken his vows. When this is revealed to his brother monks their shock is almost palpable through the camera and across the decades. The runaway priest (Charles Boyer) soon crosses paths with a beautiful, kind and wealthy woman (Marlene Dietrich) who is going on a spiritual retreat into the desert. One thing leads to another and the couple soon fall in love. She doesn't know his secret, but the audience does. (Frankly, I did find the premise shocking, especially considering the era in which it was made.)
"The Garden of Allah" is a visually stunning film. The MGM print has been superbly restored. The palette is warm and rich without looking oversaturated as was the case with many other Technicolor films of the same era. (The way Technicolor is used in "The Garden of Allah" makes "Gone With the Wind" look garish by comparison.)
The cinematography is astonishing! There are plenty of gorgeous shots of Buttercup Dunes, California sanding in for the Sahara. But even more impressive are scenes such as the one in which the dancing girl first sees Boyer's character and her eyes literally sparkle; the play of light and shadow across the faces of the lovers under the palm trees of an oasis; or the unshed tears in Boyer's eye at the end of the film.
Domini Enfilden may not have been Marlene Dietrich's finest acting role, but I've never seen her look more exquisite than she does here. The costumes, the color, the lights - all show her off to maximum advantage. Throughout the film she barely raises her voice above a husky whisper, but her face is expressive enough to convey emotions from joy to despair. (The one bit of trivia I have about this film is that it was originally intended as a vehicle for the then 25 year old Merle Oberon, but went to the 35 year old Dietrich instead.)
Charles Boyer, at 36, made quite a handsome and dreamy romantic lead. It's too bad entire generations grew up associating him with Pepe le Pew. Boyer acted not only with his face and voice, but with his posture. A shot of his back conveys as much anguish as another shot of a single tear in the corner of his eye.
Basil Rathbone is Count Ferdinand Anteoni, a European who has decided to make the desert his home. He moves easily between desert garb and hounds tooth jacket. Rathbone has one of the most beautiful speaking voices I've ever heard.
John Carradine has an small, but interesting part, as a blind Arab who tells fortunes by "reading the sand." He has a terrific, wordless moment of anguish after he realizes Domini has only listened to the happy parts of reading he gave her and she has completely ignored his warning.
There are no special features. English, French or Spanish subtitles are available.
"Garden of Allah" is a very impressive film. Highly recommended to classic film fans!
Movie Review: Marlene glows in "Garden"
Summary: 4 Stars
THE GARDEN OF ALLAH, produced by David Selznick in 1936, was famously one of the first movies to employ the use of the complete three-strip Technicolor process. Certainly, it was the first time that a film had been shot on location using the cumbersome Technicolor camera.
Following the death of her father, Domini Enfilden (Marlene Dietrich) journeys into the exotic deserts of Northern Africa to contemplate her life on a personal pilgrimage. There she meets Boris Androvsky (Charles Boyer), a trappist monk who has abandoned his faith. Keeping his real identity a secret, Boris falls for the beautiful Domini and later marries her. But how long will it be until the truth is revealed?...
Although the script is incredibly weak and sentimental (Marlene Dietrich herself said it was "twash"), THE GARDEN OF ALLAH comes alive thanks to the flesh and blood performances of Dietrich and Boyer. Theirs was a very special onscreen chemistry which quietly smouldered. The outstanding cast also boasts Joseph Schildkraut, Basil Rathbone and C. Aubrey Smith.
There had been movies filmed in Technicolor before, but THE GARDEN OF ALLAH set the benchmark, displaying to filmmakers and audiences what could be achieved with the right balance of light, setting and costume. The colours are incredible, full of life and texture. Costume designer Travis Banton dresses Dietrich in some breathtaking clothes (with the emphasis on peaked hats, chiffon scarves and hooded cloaks).
MGM's DVD presentation of THE GARDEN OF ALLAH seems to have been struck from a near-pristine print. The image is remarkably free from dirt and debris, only minor colour shifts and slight blemishes give away the sheer age of the film in question. It's a revelation. The audio is well-rendered for the most part, certain areas are more worn than others. You may have to crank up the volume to properly hear some lines of dialogue. Sadly, there are no extras, but the flawless film transfer should be enough for classic movie lovers. (Single-sided, single-layer disc).
Movie Review: GUILTY PLEASURES
Summary: 4 Stars
Kitsch of such sublime silliness you may find yourself giggling days afterward. Marlene Dietrich is Domini a wealthy orphan who feels God has deserted her after the death of her father. She returns to her convent boarding school to ask the advise of the Reverend Mother who tells her to go to the desert & look for God there. (It worked for the Church Fathers.) Domini packs her chiffon & heads for North Africa. Meanwhile in North Africa a Trappist monk, Boris, (Charles Boyer with the most limpid pool eyes you'll ever see) also feels deserted by God & he leaps over the wall taking with him the receipt of the liqueur for which the monastery is famous. The other monks are aghast & all but rend their habits. Domini & Boris meet, fall in love & marry. Just as they mount their camels to head off to their desert honeymoon a tremendous sand storm arises. And if this weren't portent enough they pass a soothsayer (John Carradine looking more than usually demented) who saith a sooth that wouldn't soothe anybody. Once in the desert the couple meet a T. E. Lawrence type (Basil Rathbone) & the 3 go off to the local oasis where they all have some of the liqueur that Boyer used to distill. The waiter tells them that soon there will be no more of the liqueur because its maker fled the monastery. Soon Domini realizes that her new husband & the monk are the same & she is aghast. She all but rends her chiffon. She tells Boris he must go back to the monastery & his first marriage & they drive back in her carriage. When Boris disappears behind the monastery doors Domini flings herself against the back of the carriage & instructs the driver to drive on. It's very tense. She stifles her sobs by chewing on several yards on chiffon. Eat your heart out, Mildred Pierce.Movie Review: Dabbling in the Desert
Summary: 4 Stars
To be sure, this 1936 David O. Selznick production has a very tame storyline, bland even, by today's standards. But what it does have is Marlene Dietrich, Charles Boyer and Basil Rathbone and a steller cast, with beautiful music and some of the best Technicolor ever produced. It's well worth having as an example of Hollywood color filmmaking at its best.Movie Review: Fabulous early movie
Summary: 4 Stars
This is one of the first coloured movies picturing a romantic story in the desert. The story is passionate, the images beautiful, and definitely worth seeing.