Kismet (1955)
Directed by Vincente Minnelli, Stanley Donen

Film Review

Edward Knoblock's 1911 play Kismet had already been adapted for cinema three times before MGM gave it the full-blown musical treatment in this 1955 version.  Thinking it was on to a surefire winner, the studio bought the film rights to what became a hugely successful Broadway musical even before it had been staged.  It proved to be a very poor investment, as the film was widely panned by the critics and struggled to make a profit.  By this time, the heyday of the film musical had past, and Kismet was just one of several films of its kind that MGM made (Brigadoon being another notable flop) in a futile attempt to revive interest in a flagging genre.

MGM's musical producer Arthur Freed was keen that the film should be directed by Vincente Minnelli, who had already proven he had a flair for the film musical with Meet Me in St. Louis (1944) and An American in Paris (1951), two of the finest musicals made by the studio.  Unfortunately, Minnelli had disliked the staged musical version of Kismet and had no interest in adapting it for the cinema.  He was persuaded to change his mind when he was offered a quid pro quo he could not refuse: the opportunity to direct a biography of the life of Vincent Van Gogh, Lust for Life (1956), the film he had long wanted to make.  The story may not have been to Minnelli 's liking, but the musical did at least boast some respectable numbers, which were largely based on the music of the Russian composer Alexander Borodin.  These include the musical's best-known number, Stranger in Paradise, which was lifted from Borodin's Polovetsian Dances.

It is not hard to see why Minnelli had cold feet about the venture.  The Arabian Nights style fantasy does not translate easily to the big screen and the result looks painfully theatrical and kitsch.  The garish sets would look fine in a theatre, but in unforgiving colour CinemaScope they merely stifle the production and accentuate its airless staginess.  Despite being obviously too young for his part, MGM musical regular Howard Keel gives the film the vitality and charm it badly needs, although he is pretty well fighting a losing battle, with minimal backup.  Popular singer Vic Damone lacks screen presence and is a poor match for the charismatic Ann Blyth, although Dolores Gray spices things up a little as the sensuous Lalume, reminiscent of Marlene Dietrich's Jamilla in the 1944 dramatic (and far superior) version of Kismet.   Definitely not one of MGM's better musical offerings, but Howard Keel's presence and some memorable numbers make it worth the effort.

Film Synopsis

In old Baghdad, a poet is mistaken for a beggar named Hajj and abducted by the notorious bandit Jewan.  The latter threatens to kill the supposed beggar unless he lifts the curse he put on him, which he blames for his son being kidnapped when a boy.  The poet obliges, but only after he has extorted a hundred gold pieces from him.  He returns to Baghdad, not knowing that in his absence his daughter Marsinah has met and fallen in love with the Caliph, disguised as a humble gardener.  Marsinah fails to keep her rendezvous with the Caliph, as she and her father are arrested by the Wazir, charged with stealing the gold coins they have in their possession.  When he discovers that the poet's curses have a habit of being fulfilled, the Wazir makes him a prince, and hopes that he can assist him in persuading the Caliph to marry the three daughters of the King of Ababu...