Domini (Marlene Dietrich) is a rich woman who has spent many years taking care of her ailing father. When he finally dies, she realizes that she has missed much in her own life, and sets out to North Africa to find herself. Boris (Charles Boyer) is a Trappist monk who has taken vows of poverty and silence, but he can no longer bear the burden of either, and so he heads to North Africa to find himself. The two spiritually conflicted people meet and fall in love, but their sad ending is foretold.
This was a wild mix of beauty and camp that will appeal to some viewers but leave others rolling their eyes in disbelief. I can't recall many films of this period that were as openly spiritual and as concerned with the burdens of the soul, and yet the two leads are among the most vain and superficial of movie stars, both with acting talent, but both better known for their looks than their depth. Dietrich especially looks more like a studio creation than a living human, with her almost comical artificial eyebrows and professional-grade makeup design.
The movie looks amazing, a word that perhaps gets overused in amateur criticism, but it is most deservedly used here. The color cinematography, coupled with masterly use of shadow and color, and terrific use of locations, create a film that is a joy to behold even if the story and performances may leave you cold. There's a sequence early in the film involving dancer Tilly Losch as a local Arab dancing girl that made me think I had mistakenly wandered into a Maria Montez camp classic (that's a good thing). Schildkraut as a shady Arab, Brandon as his companion, and Carradine as a creepy street person promising psychic readings, are all enjoyable. This earned a pair of Oscar nominations, for Best Assistant Director (Eric Stacey) and Best Music - Score (Max Steiner), and won a special honorary Oscar for the color cinematography (W. Howard Greene & Harold Rosson).
This was a wild mix of beauty and camp that will appeal to some viewers but leave others rolling their eyes in disbelief. I can't recall many films of this period that were as openly spiritual and as concerned with the burdens of the soul, and yet the two leads are among the most vain and superficial of movie stars, both with acting talent, but both better known for their looks than their depth. Dietrich especially looks more like a studio creation than a living human, with her almost comical artificial eyebrows and professional-grade makeup design.
The movie looks amazing, a word that perhaps gets overused in amateur criticism, but it is most deservedly used here. The color cinematography, coupled with masterly use of shadow and color, and terrific use of locations, create a film that is a joy to behold even if the story and performances may leave you cold. There's a sequence early in the film involving dancer Tilly Losch as a local Arab dancing girl that made me think I had mistakenly wandered into a Maria Montez camp classic (that's a good thing). Schildkraut as a shady Arab, Brandon as his companion, and Carradine as a creepy street person promising psychic readings, are all enjoyable. This earned a pair of Oscar nominations, for Best Assistant Director (Eric Stacey) and Best Music - Score (Max Steiner), and won a special honorary Oscar for the color cinematography (W. Howard Greene & Harold Rosson).