The usual desert hokum, with a noisy woodwind score by Michel Michelet (that bursts into piano at the end) but a budget that didn't run to colour; but fortunately embellished by elegantly stylised sets (probably left over from previous productions) lit to heighten their impact by master cameraman John Seitz (plus cool second unit work).
Top-billed Yvonne de Carlo as a glamorous spy photographs well in black & white (as 'The Munsters' later demonstrated), has a fabulous wardrobe and can ride a horse, while a good supporting cast - including Raymond Burr as a villainous Emir - keep straight faces.
Top-billed Yvonne de Carlo as a glamorous spy photographs well in black & white (as 'The Munsters' later demonstrated), has a fabulous wardrobe and can ride a horse, while a good supporting cast - including Raymond Burr as a villainous Emir - keep straight faces.