THE GARDEN OF ALLAH (Selznick International/United Artists, 1936), directed by Richard Boleslawski, returns Marlene Dietrich to desert setting since her Hollywood introduction under Josef Von Sternberg's direction in MOROCCO (Paramount, 1930). Paired for the only time on screen opposite Charles Boyer, the role offers Dietrich a chance away from her home based studio in something slightly different from her previous efforts, that of troubled heroine trying to find her inner self. Taken from the novel by Robert Hichens, THE GARDEN OF ALLAH was previously filmed in the silent era in 1916 with Helen Ware, and by MGM (1927) starring Alice Terry and Ivan Petrovich. This new edition to an old-fashioned theme benefits greatly from its then and now impressive Technicolor photography that makes the plot even more modern and simplistic than it did back in 1936.
Revolving around two troubled souls bound together, the first to be introduced is Domini Enfilden (Marlene Dietrich) returning to the Convent of Cecile near a central capital of Europe where she was educated as a child. After devoting her time caring for her invalid father who had died some months prior, Domini, sad and lonely, comes seeking for spiritual guidance from Sister Josephine (Lucile Watson), the mother superior. She suggests the one way to find peace and tranquility is to isolate herself in the Algerian Desert. Next scene finds the other troubled soul living in "A Trappist monastery in Northern Africa, where men have sworn eternal vows of chastity, poverty and silence." De Trevignac (Alan Marshal), a visiting soldier of France who, about to depart after spending a month among the fellow monks, finds the monastery terrified by the news of Boris Androvsky, known as Brother Antoine (Charles Boyer), having broken his vows and fled his order. Bound for Beni-Mora, Domini and Boris, strangers on a train, end up as fellow travelers sharing the same compartment and destination. Regardless of his secretive past, Domini, going by the philosophy of, "Only God and I know what's in my heart," forgets about herself and devotes much of her time with the moody Boris. Going against the advise of Father Roubier (C. Aubrey Smith), a priest looking after her during her stay, Domini, still unaware of what secret Boris keeps within himself, marries him anyway. "Journeying without aim, drawn by the mystic summons of blue distances," the couple find true happiness in the their "land of forgetfulness," or The Garden of Allah. Their past soon catches up with them upon the arrival of an unexpected visitor seeking food and shelter.
Of the troubled souls depicted on screen, Charles Boyer, shows his range as a fine actor by turning his weak character into a strong presence. Scenes worth noting include that of Boris angrily throwing his crucifix into the pond for the beggars, who take fascination by it, to dive in after it; his sense of guilt while facing the presence of a priest (Smith) and/or the cross on top of the church. The most crucial scene of all is when the camera captures Boris' moment of despair with the buildup of tears in his eyes before dripping down his face. With the script taken out of context from a fictional novel, the story of a man denying God but unable to deny himself is definitely something from Scriptures in the Bible. The message of God never giving up on those who give up on Him, by offering spiritual guidance rather than condemnation, is as timely as the theme itself. Dietrich's Domini on the other hand is the softer of the two central characters, having more faith than Boris, even when having doubts about her inner self and what the future may hold.
Appearing in smaller roles are Basil Rathbone Count Ferdinand Anteoni, a French Legion officer appearing either in suit or sheik's attire who befriends Domini and Boris; the unrecognizable John Carradine a psychic who foretells the future through the secrets of the sands; Joseph Schildkraut, the comedic tour guide; and Bous-Bous, a dog as portrayed by Corky. Special screen introduction goes to Tilly Loch, appearing briefly playing Irena, the fiery Ouled-Nail dancing girl whose flirtatious eyes on Boris that starts a riot. The children appearing uncredited in the opening scene in the convent feature such familiar faces as Ann Gillis, Marcia Mae Jones and Bonita Granville.
In spite of slow passages, THE GARDEN OF ALLAH is quite an indifferent yet interesting story. While sources label this at 85 minutes, circulating prints, ranging from home video to 2004 DVD release, are clocked at 79. It's a wonder whether certain scene(s) were edited prior to theatrical release or this being a reissue copy from the 1940s.
Formerly presented on American Movie Classics (1995-96), THE GARDEN OF ALLAH occasionally turns up on Turner Classic Movies where it premiered October 2002 as part of its tribute to producer David O. Selznick. (**1/2)
Revolving around two troubled souls bound together, the first to be introduced is Domini Enfilden (Marlene Dietrich) returning to the Convent of Cecile near a central capital of Europe where she was educated as a child. After devoting her time caring for her invalid father who had died some months prior, Domini, sad and lonely, comes seeking for spiritual guidance from Sister Josephine (Lucile Watson), the mother superior. She suggests the one way to find peace and tranquility is to isolate herself in the Algerian Desert. Next scene finds the other troubled soul living in "A Trappist monastery in Northern Africa, where men have sworn eternal vows of chastity, poverty and silence." De Trevignac (Alan Marshal), a visiting soldier of France who, about to depart after spending a month among the fellow monks, finds the monastery terrified by the news of Boris Androvsky, known as Brother Antoine (Charles Boyer), having broken his vows and fled his order. Bound for Beni-Mora, Domini and Boris, strangers on a train, end up as fellow travelers sharing the same compartment and destination. Regardless of his secretive past, Domini, going by the philosophy of, "Only God and I know what's in my heart," forgets about herself and devotes much of her time with the moody Boris. Going against the advise of Father Roubier (C. Aubrey Smith), a priest looking after her during her stay, Domini, still unaware of what secret Boris keeps within himself, marries him anyway. "Journeying without aim, drawn by the mystic summons of blue distances," the couple find true happiness in the their "land of forgetfulness," or The Garden of Allah. Their past soon catches up with them upon the arrival of an unexpected visitor seeking food and shelter.
Of the troubled souls depicted on screen, Charles Boyer, shows his range as a fine actor by turning his weak character into a strong presence. Scenes worth noting include that of Boris angrily throwing his crucifix into the pond for the beggars, who take fascination by it, to dive in after it; his sense of guilt while facing the presence of a priest (Smith) and/or the cross on top of the church. The most crucial scene of all is when the camera captures Boris' moment of despair with the buildup of tears in his eyes before dripping down his face. With the script taken out of context from a fictional novel, the story of a man denying God but unable to deny himself is definitely something from Scriptures in the Bible. The message of God never giving up on those who give up on Him, by offering spiritual guidance rather than condemnation, is as timely as the theme itself. Dietrich's Domini on the other hand is the softer of the two central characters, having more faith than Boris, even when having doubts about her inner self and what the future may hold.
Appearing in smaller roles are Basil Rathbone Count Ferdinand Anteoni, a French Legion officer appearing either in suit or sheik's attire who befriends Domini and Boris; the unrecognizable John Carradine a psychic who foretells the future through the secrets of the sands; Joseph Schildkraut, the comedic tour guide; and Bous-Bous, a dog as portrayed by Corky. Special screen introduction goes to Tilly Loch, appearing briefly playing Irena, the fiery Ouled-Nail dancing girl whose flirtatious eyes on Boris that starts a riot. The children appearing uncredited in the opening scene in the convent feature such familiar faces as Ann Gillis, Marcia Mae Jones and Bonita Granville.
In spite of slow passages, THE GARDEN OF ALLAH is quite an indifferent yet interesting story. While sources label this at 85 minutes, circulating prints, ranging from home video to 2004 DVD release, are clocked at 79. It's a wonder whether certain scene(s) were edited prior to theatrical release or this being a reissue copy from the 1940s.
Formerly presented on American Movie Classics (1995-96), THE GARDEN OF ALLAH occasionally turns up on Turner Classic Movies where it premiered October 2002 as part of its tribute to producer David O. Selznick. (**1/2)