Fate Without Music

I was looking at the upcoming TCM schedule, and noticed that tomorrow, April 7, at 8:00 AM, you can catch the Howard Keel musical version of Kismet. It's from 1955, based on a then-recent musical, with the musical being based on an old stage play from the turn of the last century. That play had already been turned into a non-musical movie on multiple occasions, most notably a 1944 MGM Technicolor production also titled Kismet. I have that 1944 version sitting on my DVR, so I figure that now wouldn't be a bad time to do a post on it.

Thankfully, the movie has some opening narration that greatly helps to explain everything that's going on in the movie. The setting is Baghdad in its golden age, or "old Baghdad when it was new and shiny" as the narrator tells us. Hafiz (Ronald Colman) is a beggar by day who has somehow obtained some fancy clothes that enable him to go out at night disguising himself as a prince, calling himself Prince Hassir. It's as his prince that he makes his way into the palace of the Grand Vizier where he meets the Vizier's Macedonian wife Jamilla (Marlene Dietrich). But we're getting ahead of ourselves here.

Also given prominence in the opening narration is the nominal ruler of the empire, the Caliph (James Craig). The Caliph is smart enough to know that his advisers are going to engage in toadyism and tell him whatever they think he wants to hear, and that those things aren't necessarily going to be the truth. So he escapes from his own palace at night, dressing in regular clothes and passing himself off as the son of the royal gardener. This he does in order to be able to find out what his subjects honestly think. What they think isn't pretty, of course. But this going out at knight is also what brings him into contact with Hafiz as Hassir. One other person the Caliph meets is Marsinah (Joy Page). He falls in love with her, not knowing that she's really the daughter of Hafiz. Hafiz, meanwhile, has been feeding Marsinah a bunch of lies about how she's going to marry a prince and her life will be one of luxury.

Now, as I said earlier, Hafiz meets Jamilla, and is taken with her. The feeling is mutual, although Jamilla is smart enough to know that Hassir is a disguise as there's no real Prince Hassir in Baghdad. After all, the arrival of a prince would be big news, especially in the palaces. In any case, Jamilla is also the wife of the Vizier, played by Edward Arnold. Edward Arnold's casting is a sign that the Vizier is the baddie in the piece. While the Caliph is the nominal power, the Vizier fancies himself as the real power, and he's going to get into a power struggle with the Caliph. He also meets Hassir when Hafiz gets himself invited to the Vizier's place by posing as the prince. This is, unfortunately, going to cause a great deal of legal difficulty for Hafiz when the Vizier figures out the deception. But it also is what really puts the plot into motion for the second half of the movie.

Kismet received four Oscar nominations (which is why TCM aired it -- as part of 31 Days of Oscar) in various technical categories. It's easy to see why the movie picked up those nominations, but not for any of the more traditionally prestigious categories like acting or direction. The movie is certainly lovely to look at, and to be fair to the actors they do a reasonably good job with the material even if none of them look Arab. What makes this version of Kismet a movie that's not as well remembered as other 1940s classics is, I think, the screenplay, which is slow to develop and tends to meander, as if the screenwriters couldn't quite decide what to do.

That isn't to say this version of Kismet is bad. It's more to say that you wonder whether a truly classic movie could have been made from the material. I have yet to see the musical version, so maybe that musical will be the classic.