If an occurrence is your unavoidable destiny, might you call it kismet? This colorful synonym for fate has Turkish and Arabic roots, but it was popularized in culture by the 1911 play “Kismet” written by Edward Knoblock. This play was adapted into five classic movies and a Broadway musical.
The first three movie adaptations were released in 1914, 1920, and 1930. All three were silent films. The fourth and fifth films were Technicolor talkies made by MGM, released in 1944 and 1955. While the 1944 film is an adventure drama based heavily on the 1911 play, the 1955 movie is a screen adaptation of the 1953 Tony-award winning musical of the same name.
‘Kismet’ (1944)
“Kismet” from 1944 was directed by William Dieterle, who used his background in German theater to bring the fictional Baghdad of the “Arabian Nights” to life in dramatic detail. It starred Ronald Colman as Hafiz, a wily beggar, Joy Ann Page as Marsinah, his lovely daughter, James Craig as the handsome young Caliph, Edward Arnold as the wicked Grand Vizier, and Marlene Dietrich as Jamilla, his beautiful wife.
Although it was a financial failure, the film was nominated for four Academy Awards, including Best Cinematography for Charles Rosher, Best Music for Herbert Stothart, Best Sound for Douglas Shearer, and Best Art Direction for Cedric Gibbons, Daniel B. Cathcart, Edwin B. Willis, and Richard Pefferle.
“Kismet” is a story of mystery, mistaken identity, and inescapable destiny. First, we have Hafiz, who is the King of the Beggars during the day. He uses his wit, charm, and magic to beg, borrow, or steal whatever he wants. By night, he roams the streets of Baghdad disguised as the wealthy and dashing Prince of Hassir, charming ladies of high rank. Among his conquests is the beautiful Lady of the Moonlight, whom he doesn’t realize is the wife of the Grand Vizier.
Caught in Hafiz’s web of dreams is his pure, young daughter Marsinah, whom he has vowed will marry no less than a prince. Little does he know that she has fallen in love with a young man whom she has been sneaking out to meet at night. Although she thinks the sincere youth is the son of the royal gardener, he is actually the Caliph of Baghdad, who enjoys exploring his city’s streets in disguise.
When Hafiz finds out about his daughter’s romance, he’s horrified at the thought that his beloved girl will belong to a common camel boy. He takes their kismet in his own hands by presenting himself to the Grand Vizier as the Prince of Hassir and tempting the lustful man into curiosity about the beautiful Marsinah.
‘Kismet’ (1955)
The 1955 movie version of “Kismet” was directed by musical experts Vincente Minnelli and an uncredited Stanley Donen and produced by Arthur Freed. Dynamic baritone Howard Keel took over the role of the scheming father, here a poet who is mistaken for a beggar named Hajj. The brilliant soprano Ann Blyth played his daughter, Marsinah, and popular singer Vic Damone played the young Caliph. Sebastian Cabot was the nefarious Wazir, and blonde Broadway bombshell Dolores Gray played Lalume, his Wife of Wives.This movie was favorably received by audiences and remains a beloved musical, although it lost money at the box office because of going over-budget and overtime during filming.
As befitting a musical, the 1955 movie is a lighter, more playful take on the story. A whimsical poet and his daughter, Marsinah, struggle to survive in Baghdad. Rather than stealing and begging, the nameless poet gets a few shekels by telling stories, reciting poems, and making up songs in the streets. One day, he’s captured by thuggish bandits, who mistake him for Hajj the beggar and bring him to their leader, Jawan. In return for lifting the curse that Hajj put on Jawan’s son years earlier, the thief gives the poet a bag of gold. His newfound wealth quickly gets him into trouble, however, as he is arrested for possession of stolen gold.
Music Versus Melodrama
Classic Hollywood films are rarely noted for their authentic representation of foreign ethnic groups, and both “Kismet” movies are no exception. They’re more like storybook scenes from the “Arabian Nights.” The 1944 version takes itself seriously, with an impressive array of dramatic actors that bring the exotic melodrama to life. The 1955 version is automatically less dramatic because it’s a musical.That isn’t to say that the earlier movie features no music. Joy Page sings a couple of pleasant folk-inspired songs (with vocals overdubbed by Doreen Tryden), and Marlene Dietrich stops the show with an evocative exotic dance choreographed by Jack Cole, in which her legs were covered only by metallic gold paint.
In contrast, the Broadway musical numbers of the later film bring the action right up to the 1950s, with rhythmic choreography (also by Jack Cole) that blends boogie-woogie with an almost Bollywood feel. But the music isn’t all bebop. Most of the score was adapted from classical melodies from Eastern European composer Alexander Borodin’s symphonic works.
The beautiful voices of Howard Keel, Ann Blyth, and Vic Damone make the unforgettable melodies of “Stranger in Paradise,” “And This Is My Beloved,” and “Baubles, Bangles, and Beads” come to life. It’s much easier to root for these characters as you enjoy the musical ride, since none of them are as wily, egocentric, or downright evil as their 1944 counterparts.
If you want to experience the romance, mystery, and Technicolor splendor of this exotic fairytale, you have two star-studded films to choose from. Shall it be the swashbuckling 1940s drama or the romantic 1950s musical? Only you can decide which is the better for film. That’s each viewer’s kismet.
