I just watched this as part of the Criterion Challenge—specifically under Isabella Rossellini’s Adventures in Moviegoing, since this is one of her favorites.
I was honestly blown away. It’s the kind of film I’m surprised I never saw as a kid. It has that magical, transportive quality I associate with seeing The Wizard of Oz for the first time. As a child, you’d be dazzled by the spectacle; as an adult, you can also recognize the sheer technical achievement.
The film won the Oscar for Best Visual Effects, and it’s easy to see why. Miniatures, superimpositions, early blue-screen work—it’s all surprisingly effective. The sequences with the giant genie are especially fun, and while some effects show their age, you’re so wrapped up in the story that it doesn’t matter. That, to me, is real movie magic.
On top of that, the Technicolor is breathtaking. The colors burst off the screen in a way that feels almost otherworldly. Films like this are proof of why early Technicolor deserves to be preserved and shared—it’s film history at its most vibrant and inventive.
What I didn’t realize going in is that this story is essentially an early version of Aladdin. Abu, the thief in Baghdad, is basically the prototype for the Disney character. There’s a flying carpet, a genie in a bottle, a guy named Jafar! While a lot of the details differ, it gave me the same timeless, fable-like feeling. I’ve always loved stories that feel like they could be passed down endlessly, and this one fits right into that tradition.
The pacing also surprised me. For a film that bounces across locations, introduces new characters, and stages massive set pieces (like Abu fighting a giant spider to retrieve the all-seeing eye), it never drags. It’s under two hours but feels epic in scope. Anyone who thinks pre-1950s films are slow should watch this.
The cast deserves mention: John Justin as Ahmad, Conrad Veidt as Jafar, Sabu as Abu, and Rex Ingram as the genie—who really steals the film once he appears.
All in all, The Thief of Baghdad is beautiful, inventive, and a joy to watch. I can’t believe it took me this long to see it, but I’m glad I finally did.
8.5/10
I just watched this as part of the Criterion Challenge—specifically under Isabella Rossellini’s Adventures in Moviegoing, since this is one of her favorites.
I was honestly blown away. It’s the kind of film I’m surprised I never saw as a kid. It has that magical, transportive quality I associate with seeing The Wizard of Oz for the first time. As a child, you’d be dazzled by the spectacle; as an adult, you can also recognize the sheer technical achievement.
The film won the Oscar for Best Visual Effects, and it’s easy to see why. Miniatures, superimpositions, early blue-screen work—it’s all surprisingly effective. The sequences with the giant genie are especially fun, and while some effects show their age, you’re so wrapped up in the story that it doesn’t matter. That, to me, is real movie magic.
On top of that, the Technicolor is breathtaking. The colors burst off the screen in a way that feels almost otherworldly. Films like this are proof of why early Technicolor deserves to be preserved and shared—it’s film history at its most vibrant and inventive.
What I didn’t realize going in is that this story is essentially an early version of Aladdin. Abu, the thief in Baghdad, is basically the prototype for the Disney character. There’s a flying carpet, a genie in a bottle, a guy named Jafar! While a lot of the details differ, it gave me the same timeless, fable-like feeling. I’ve always loved stories that feel like they could be passed down endlessly, and this one fits right into that tradition.
The pacing also surprised me. For a film that bounces across locations, introduces new characters, and stages massive set pieces (like Abu fighting a giant spider to retrieve the all-seeing eye), it never drags. It’s under two hours but feels epic in scope. Anyone who thinks pre-1950s films are slow should watch this.
The cast deserves mention: John Justin as Ahmad, Conrad Veidt as Jafar, Sabu as Abu, and Rex Ingram as the genie—who really steals the film once he appears.
All in all, The Thief of Baghdad is beautiful, inventive, and a joy to watch. I can’t believe it took me this long to see it, but I’m glad I finally did.
8.5/10
