The appeal to female audiences was brashly apparent, despite scornful reviews from (usually male) critics. Barbara, from the very beginning, does not take “no” for an answer. She steals her best friend’s fiancé when she arrives as her “maid of honor.” Quickly bored with country life, she gambles recklessly and loses a valued brooch at cards. She hears stories about a notorious highwayman, Captain Jackson, and impersonates him by robbing coaches at pistol point, in order to regain her jewels. When she encounters the real Captain Jackson (James Mason), they take to one another immediately, and begin an interlude of thievery, polished off with a romp in bed at the local inn. Her thrill seeking escalates and she clashes even with her partner. Clearly, she’s lost all boundaries in continuing to commit her crimes, and her end is foreshadowed (after all the film is based on a best seller called “The Life and Death of the Wicked Lady Skelton”). Lockwood may resemble Vivien Leigh’s Scarlett O’Hara in her hair and make-up, and in her characters’ outrageous selfishness. But there is one big difference: Scarlett doesn’t murder Rhett Butler.
“Arabian Nights” movies were a great favorite in our household when my daughter was growing up. They have an enchanting fairy tale vibe to them, and usually had very assertive heroines (in sensational costumes), often played by Maureen O’Hara (again!), who starred in “Bagdad,” “Sinbad the Sailor,” and “Flame of Araby.” By far, the favorite was “The Prince Who Was a Thief” (1951), set in 13th century Tangiers. Improbably, it’s adapted from a story by early 20th century American realist writer, Theodore Dreiser (“An American Tragedy”).
Tony Curtis plays Julna, his first leading role. Curtis wanted nothing more in his life to be a movie star, and he gives it his all. He fences, rides, swims, and scales palace walls, and the camera caresses his half naked body as he scorches the screen with his brazen charm. Opposite him is feisty teen Piper Laurie, best known, perhaps, as Carrie’s crazy mom in the horror classic. They are completely adorable together.
Jack Shaheen, author of Reel Bad Arabs, was the gatekeeper for movies with Islamic stereotyping. He was willing to give the Arabian Nights talesa pass, because all the characters are Arabs, as long as the epithets and anti-Islamic cursing were kept to a minimum. This film shows an Arab character freeing other Arabs from oppression. There is Arabic writing, and a few Arabic words spoken (shaitan, for devil or demon). He also endorses some films in which heroic Arab characters are played by glamorous American movie stars. These tales have a tradition of brave and clever heroines (think Scheherazade). True, Laurie’s Tina speaks in an annoying childish third person, and has a little hat like a monkey, but without her wily street smarts, this prince has no chance of regaining his kingdom.
Perhaps the Pandemic is easing, and all the rabbit holes we’ve fallen down these last couple of years will soon seem less compelling. Still, a passion for female heroes, in transporting escapist entertainment, is a quest worth continuing.
Laura Boyes hosts the Moviediva Film Series at the Carolina Theatre of Durham (NC) and writes at www.moviediva.com
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