I first saw this in the early 90s. Revisited it recently. This film hasn't aged well. It has some good comedy, decent effects, hell lottuva babes n a funny faced Sultan (Aldo Fabrizi). It even has Terence Hill in a tiny role n the intimidating wrestler Milton Reid (Dr. No and The Spy Who Loved Me).
18 Reviews
Not so much a review but a nostalgic anecdote...
multiplepov-129 August 2006
Years ago when the first Ninja Turtles movie made its way to VHS, my five-year-old neighbor girl (who liked coming by to play with my toddler), knocked on my door, pressed her copy of the movie into my hands and said, "You've *got* to watch this. It's the *best* movie ever made." When I first saw "The Wonders of Aladdin," I thought it was the best movie ever made. I was eight. My favorite thing in the world at that time was listening to the Broadway cast album of "Kismet" (the movie of which I didn't see for many years) and reading 1001 nights tales in picture books. When I saw "The Wonders of Aladdin" on television with my family, I remember being absolutely enthralled. (I remember my mother being surprised that Vittorio de Sica was in it.) I loved every plot twist. The genie appearing in a matte shot, smaller and smaller with each appearance, made perfect sense to me. I rooted for Donald O'Connor. I was thrilled when he won the princess (who I'd thought was Annette Funicello).
When I saw it again, about age 12, I was appalled. What a cheesy picture, I thought. The wink-wink-nudge-nudge joke of O'Connor (but not the audience) accidentally seeing the princess (not Funicello after all) nude seemed embarrassing. The "special effects" were just cheap.
When I caught the movie again at college age--after several years of reading about films and seeing films of all eras--I was ready to forgive "The Wonders of Aladdin" its failings and enjoy it again.
If you like 1001 nights type stories and you appreciate films of different eras, "The Wonders of Aladdin" is an enjoyable B-movie fantasy.
When I saw it again, about age 12, I was appalled. What a cheesy picture, I thought. The wink-wink-nudge-nudge joke of O'Connor (but not the audience) accidentally seeing the princess (not Funicello after all) nude seemed embarrassing. The "special effects" were just cheap.
When I caught the movie again at college age--after several years of reading about films and seeing films of all eras--I was ready to forgive "The Wonders of Aladdin" its failings and enjoy it again.
If you like 1001 nights type stories and you appreciate films of different eras, "The Wonders of Aladdin" is an enjoyable B-movie fantasy.
THE WONDERS OF ALADDIN (Henry Levin and Mario Bava, 1961) **1/2
Bunuel197624 April 2010
While I could only get my hands on a French-dubbed version of this costumed romp (without even the benefit of any subtitles), I admit to having enjoyed it quite a bit – indeed, more than I anticipated! Bava's involvement notwithstanding, I had long wanted to check this one out, in view of a movie poster of it kept in a scrapbook by my father back from the time of its local theatrical release. I have watched many an Arabian Nights fantasy in my time, so that there was very little novelty in the way of plot here
but the cult director's hand definitely benefited the look of the film – with sets, costumes, special effects and overall color scheme all coming across as rather splendid within their modest confines. Apart from the obligatory Hollywood veteran brought in to act as 'supervisor', we also get an American lead in Donald O'Connor: his comic shtick may be an acquired taste, but the actor's irrepressible energy served the role well in action highlights (not to mention a dance sequence towards the end in which he assumes the garbs of a mannequin imbued with life by the villain's sorcerer!). Also exposing the movie's Italian/French heritage is the fact that the supporting cast is peppered with many an established and upcoming presence from both these countries: Fausto Tozzi as a particularly flamboyant Grand Vizier, Terence Hill (still bearing his pre-stardom name of Mario Girotti) as the romantic second lead, Vittorio De Sica as the ubiquitous genie-in-a-lamp, and a typically flustered Aldo Fabrizi as the Sultan; Michele Mercier, then, is Hill's regal intended and Fabrizi's daughter (naturally also coveted by the dastardly Tozzi) and Raymond Bussieres appears as the Sultan's adviser. As expected, the fantasy sequences – capped by a desert climax in which O'Connor duels with Tozzi (albeit managing to overcome him only through De Sica's helping hand, just as, at one point his dimensions are enlarged in order for him to turn the tables on some pursuers, with one of them even landing the post thereafter of the hero's servant/sidekick!) – prove the film's ultimate mainstay. That said, there are also comedic flashes of eroticism (O'Connor twice discovers his girlfriend hanging naked after being captured by the villain) and a couple more of outright sadism (people falling through a secret panel in the floor of Tozzi's palace are ripped apart by his vicious dogs) which are decidedly incongruous for what is essentially a kiddie film!
A Great Fantasy
Sargebri7 September 2003
This has to be one of the finest comedies to feature Donald O'Connor that didn't feature him dancing or with a talking mule. When you look at it, he really isn't the smooth teen idol type that was portrayed in the classic animated feature that came out several years later, O'Connor played Aladdin more like an ordinary guy who gets involved in very unusual situations. Too bad this is rarely shown on television anymore, it is definitely a treat.
It's ok good enough
Apollo15AnnoPianoCatDogSnailAnt3 August 2020
A Silly Carpet Ride
EmperorNortonII19 May 2001
This movie has a high '60s camp factor. The Arabian Nights theme of movies certainly opens itself up to it, with its navel-jewel-wearing harem girls and all. You can tell the dubbing's not up to par (and it seems like Donald O'Connor was the only one speaking English on the set). But it does entertain as much as any goofy Italian movie can.
Aladdin
BandSAboutMovies26 April 2023
Warning: Spoilers
According to camera operator Marcello Gatti, Henry Levin (That Man Bolt, Kiss the Girls and Make Them Die) directed 80% of this movie, while Mario Bava did the second unit direction and supervised the special effects. Because Bava was also in charge of post-production and dubbing in Italy, Italian and French prints have the credit "A film by Henry Levin, directed by Mario Bava" while English language prints only credit Levin with direction.
The making of this movie was not without incident.
Star Donald O'Connor suffered a blood hemorrhage on his throat and had to be rushed to hospital at one point. He also was joined by director Levin and writer Henry Motofsky in crossing the Tunisian border into Algeria while scouting locations and being arrested for three hours. But the worst incident - according to the commentary track from Tim Lucas on the Kino Lorber blu ray - was that the use of a mosque as a shooting location caused a violent revolt which led to five deaths and the killing of a security guard at the American embassy that was cleared the location. Bava had literally spears pointed at his head and said that it was the most frightening moment of his life.
In the middle of all that insanity, this movie was made at the same time as two Steve Reeves films: Morgan, the Pirate and The Thief of Baghdad. The same crew - producer Joseph E. Levine, set designer Flavio Mogherini, cinematographer Tonino Delli Colli and Bava on effects - worked on all of the movies one after another.
The script is credited to Luther Davis (The Old Man Who Cried Wolf) from a story by Stefano Strucchi and Duccio Tessari,who was three years away from writing A Fistful of Dollars. The adaptation is credited to Silvano Reina, Pierre Véry and Franco Prosperi, who one day would make The Last House on the Beach, The Throne of Fire, The Green Inferno and White Cannibal Queen. He also wrote another film for Bava, Hercules In the Haunted World. He also did second unit directing for that movie, as well as Bava's Erik the Conquerer and The Girl Who Knew Too Much.
Based on Antoine Galland's adapted version of Aladdin and the Magic Lamp, this film combines the feel of peplum with the tales of Arabian adventure. Aladdin must go up against the Grand Vizier (Fausto Tozzi) with the help of a genie (Vittorio De Sica, who would go on to direct films of his own such as Marriage Italian Style, Woman Times Seven, a sex comedy anthology starring Shirley MacLaine, and a segment in Le streghe). There's also Prince Moluk in this, played by Mario Girotti. Six years later, you'd start to know him much better by his Americanized stage name, Terrence Hill.
While the actual movie is pretty simple and not all that exciting, the effects and ability to stretch the budget that Bava always showed are reasons enough to see this movie.
The making of this movie was not without incident.
Star Donald O'Connor suffered a blood hemorrhage on his throat and had to be rushed to hospital at one point. He also was joined by director Levin and writer Henry Motofsky in crossing the Tunisian border into Algeria while scouting locations and being arrested for three hours. But the worst incident - according to the commentary track from Tim Lucas on the Kino Lorber blu ray - was that the use of a mosque as a shooting location caused a violent revolt which led to five deaths and the killing of a security guard at the American embassy that was cleared the location. Bava had literally spears pointed at his head and said that it was the most frightening moment of his life.
In the middle of all that insanity, this movie was made at the same time as two Steve Reeves films: Morgan, the Pirate and The Thief of Baghdad. The same crew - producer Joseph E. Levine, set designer Flavio Mogherini, cinematographer Tonino Delli Colli and Bava on effects - worked on all of the movies one after another.
The script is credited to Luther Davis (The Old Man Who Cried Wolf) from a story by Stefano Strucchi and Duccio Tessari,who was three years away from writing A Fistful of Dollars. The adaptation is credited to Silvano Reina, Pierre Véry and Franco Prosperi, who one day would make The Last House on the Beach, The Throne of Fire, The Green Inferno and White Cannibal Queen. He also wrote another film for Bava, Hercules In the Haunted World. He also did second unit directing for that movie, as well as Bava's Erik the Conquerer and The Girl Who Knew Too Much.
Based on Antoine Galland's adapted version of Aladdin and the Magic Lamp, this film combines the feel of peplum with the tales of Arabian adventure. Aladdin must go up against the Grand Vizier (Fausto Tozzi) with the help of a genie (Vittorio De Sica, who would go on to direct films of his own such as Marriage Italian Style, Woman Times Seven, a sex comedy anthology starring Shirley MacLaine, and a segment in Le streghe). There's also Prince Moluk in this, played by Mario Girotti. Six years later, you'd start to know him much better by his Americanized stage name, Terrence Hill.
While the actual movie is pretty simple and not all that exciting, the effects and ability to stretch the budget that Bava always showed are reasons enough to see this movie.
A mixture of great moments and the not so good!
JohnHowardReid9 July 2017
Warning: Spoilers
Copyright 31 December 1961 by Lux Film/C.C.F. Lux. A French/Italian co-production, filmed on locations in Tunisia and studios in Rome, English version released through Metro-Goldwyn-Mayer, Inc. New York opening simultaneously at the Forum and the Baronet: 22 December 1961. U.S. release: December 1961. U.K. release: 16 December 1962 (sic). Australian release: 23 August 1962. 8,292 feet. 92 minutes.
SYNOPSIS: In the ancient city of Baghdad, a poor boy named Aladdin day-dreams of great wealth and royal processions. One day his mother buys him a little lamp which the lad accidentally discovers contains a genie who can grant him three magic wishes. Aladdin uses his first wish to escape from some merchants he has robbed and then sets out by caravan to attend the royal wedding of Princess Zaina and Prince Moluk. Accompanying him is his devoted but unrequited girl friend, Djalma, and his loyal bodyguard, Omar. When Aladdin and Omar are captured by man-killing Amazon huntresses, the genie is once more summoned and he transports the pair to an Arab camp near the royal city of Basora. Meanwhile, the wicked Grand Vizier has taken Prince Moluk prisoner and is planning to marry the Princess himself. But Aladdin and his friends...
NOTES: Both the French — Les Mille et Une Nuits — and Italian — Le meraviglie di Aladino — versions run 100 minutes.
VIEWERS' GUIDE: The 93 minute version contains material highly unsuitable for children.
COMMENT: "Wonders of Aladdin" is going to disappoint many potential customers because it's virtually a straight Arabian Nights adventure in the style of those Universal Tony Curtis, Piper Laurie, Rock Hudson, Jeff Chandler pictures and very little use is made of the genie of the lamp and the consequent special effects. In fact, it's a pity that the genie has such a small role to play in the proceedings because his first appearance and the special effects arising therefrom are rather well done and we look forward to more of the same, and even better outcomes. Alas, we have to wait rather a long time for more and when they come they are inferior both in quantity and in quality (a wire is even visible in one scene).
Although he receives such large billing, De Sica has a very small and unrewarding part (the final indignity — his voice is even dubbed in the English version). In fact, O'Connor is the only member of the cast to use his own voice (incidentally, if you are not a fan of his, you would be well advised to avoid this one, he is on screen almost continuously and even doubles up in an uncredited bit part in which he plays the acrobat/artist who draws a picture of Princess Zaina for the Grand Vizier).
The rest of the cast is interesting — Adam, Fabrizi, Mercier — but cannot compare to the talent assembled behind the camera. The only dud is director Henry Levin. No writers are credited on the screen (or Filmfacts) but whoever they were, they certainly came up with a lightweight pastiche that many would say wasted a lot of talent.
On the other hand, the film is always very colorful to look at, and O'Connor is as acrobatic as Fairbanks, Senior. There are some really bright moments in the script, especially the scenes with the robot dolls and the aged wizard.
SYNOPSIS: In the ancient city of Baghdad, a poor boy named Aladdin day-dreams of great wealth and royal processions. One day his mother buys him a little lamp which the lad accidentally discovers contains a genie who can grant him three magic wishes. Aladdin uses his first wish to escape from some merchants he has robbed and then sets out by caravan to attend the royal wedding of Princess Zaina and Prince Moluk. Accompanying him is his devoted but unrequited girl friend, Djalma, and his loyal bodyguard, Omar. When Aladdin and Omar are captured by man-killing Amazon huntresses, the genie is once more summoned and he transports the pair to an Arab camp near the royal city of Basora. Meanwhile, the wicked Grand Vizier has taken Prince Moluk prisoner and is planning to marry the Princess himself. But Aladdin and his friends...
NOTES: Both the French — Les Mille et Une Nuits — and Italian — Le meraviglie di Aladino — versions run 100 minutes.
VIEWERS' GUIDE: The 93 minute version contains material highly unsuitable for children.
COMMENT: "Wonders of Aladdin" is going to disappoint many potential customers because it's virtually a straight Arabian Nights adventure in the style of those Universal Tony Curtis, Piper Laurie, Rock Hudson, Jeff Chandler pictures and very little use is made of the genie of the lamp and the consequent special effects. In fact, it's a pity that the genie has such a small role to play in the proceedings because his first appearance and the special effects arising therefrom are rather well done and we look forward to more of the same, and even better outcomes. Alas, we have to wait rather a long time for more and when they come they are inferior both in quantity and in quality (a wire is even visible in one scene).
Although he receives such large billing, De Sica has a very small and unrewarding part (the final indignity — his voice is even dubbed in the English version). In fact, O'Connor is the only member of the cast to use his own voice (incidentally, if you are not a fan of his, you would be well advised to avoid this one, he is on screen almost continuously and even doubles up in an uncredited bit part in which he plays the acrobat/artist who draws a picture of Princess Zaina for the Grand Vizier).
The rest of the cast is interesting — Adam, Fabrizi, Mercier — but cannot compare to the talent assembled behind the camera. The only dud is director Henry Levin. No writers are credited on the screen (or Filmfacts) but whoever they were, they certainly came up with a lightweight pastiche that many would say wasted a lot of talent.
On the other hand, the film is always very colorful to look at, and O'Connor is as acrobatic as Fairbanks, Senior. There are some really bright moments in the script, especially the scenes with the robot dolls and the aged wizard.
interesting for the involvement of Bava
RonAltman8 June 2001
Agreeable, colorful fantasy adventure about Aladdin (O'Connor), a boy from Bagdad, who discovers a genie inside his oil lamp and travels to a wedding, which an evil schemer (Tozzi) intends to foil. Interesting for the involvement of Mario Bava, who gave the film a nice look. O'Connor is quite funny but one wishes this was a little more serious and less whimsical. Still, quite violent for a kiddie film. All in all, **1/2 stars (of four).
It brought back childhood memories!
dckrapf14 November 2006
Warning: Spoilers
I think this is an enjoyable movie if you keep it in its proper context. In other words, it's a good movie for its time (1961), and by today's standards, it's suitable for kids and families. The casting is good, and the acting is decent. This movie came out 10 years before I was born, but I saw it on TV when I was about 5 years old (circa 1976). The only thing I really remembered about this film was Aladdin's girlfriend, played by Noelle Adam. What a gorgeous lady she was! She had the most beautiful eyes I have ever seen on an actress. Plus she played a very convincing and lovely damsel-in-distress. Her character is strong and stubborn, but at the same time feminine and vulnerable. I don't think this movie is shown on TV anymore, and it's hard to find a copy of it in the store. But I recently purchased a VHS copy of it on e-bay, saw it again, and fell in love with the story all over (especially with Ms. Adam)!
Nostalgic innocent good entertainment
byron-11627 March 2021
Bizarre, fun
suchenwi21 June 2009
Warning: Spoilers
I have seen several film adaptations of Aladdin (from Soviet live-action to Disney cartoon), but this weird little thing beats them all. The genie (charming Vittorio de Sica) has much less screen time than elsewhere, which is a pity - I would have liked to see more of him.
But besides, the plot was extended in so many ways. The mechanical dolls (or robots, as we would call them these days): he a dancing flute-player, she a deadly embracer. The amazons who save their victims from thirst, but later have very cruel and unusual plans for them. The scenes where Aladdin's girl is tortured... the baby switch... the trap-door to the lions' den...
All in all, a surprising weird yarn, enjoyable, bewildering, a very different experience. Terence Hill (as he later called himself) played the prince, but I didn't recognize him. Thrilling fun, and certainly not just a kiddie movie.
But besides, the plot was extended in so many ways. The mechanical dolls (or robots, as we would call them these days): he a dancing flute-player, she a deadly embracer. The amazons who save their victims from thirst, but later have very cruel and unusual plans for them. The scenes where Aladdin's girl is tortured... the baby switch... the trap-door to the lions' den...
All in all, a surprising weird yarn, enjoyable, bewildering, a very different experience. Terence Hill (as he later called himself) played the prince, but I didn't recognize him. Thrilling fun, and certainly not just a kiddie movie.
Aladdin Italian style
jameselliot-110 July 2012
When I was a boy I saw this a bunch of times in the theaters. I've been looking for a good widescreen DVD for years. I've even written to TCM to broadcast it to no avail. In fact it's way too adult for little kids with ample but suggested nudity and hot girls running around in a comic book Italian-style world. Great soundtrack as always by Lavagnino and direction by Bava although Henry Levin gets screen credit. Intense color, the kind not used anymore in this dull digital age. O'Connor was great in this, a departure from his usual yet not a departure, An odd choice for a lead in an Italian fantasy yet he makes it smoke like a genie's lamp. Noelle Adams steals the show, of course.
Can the ten lines of copy be decreased in the future?
I made the mistake of ordering a DVD of this film from Zeusdvds in Florida. I should have checked out the site for review. The owner ripped me off as well as dozens of other customers.
Can the ten lines of copy be decreased in the future?
I made the mistake of ordering a DVD of this film from Zeusdvds in Florida. I should have checked out the site for review. The owner ripped me off as well as dozens of other customers.
Aladdin is getting old.
ulicknormanowen31 January 2020
Pairing Henry levin (who made the best "journey to the center of the earth " that had ever been ) and Mario Bava (whose best fantasy and horror movies such as "i tre volti della paura" have remained memorable ) promised great things ;but these promises remained on hold.
It cannot hold a candle to "the thief of Baghdad " (1940) from which it borrowed the automaton (a murderous sexy girl) ;firts of all,Donald O' Connor is at least twice Alladin's age ;a cosmopolitan cast does not help :To support the American actor , Italians (De Sica as the genius in the bottle) ,and FRench comedians (Noelle Adam ,Michèle Mercier ,future Angélique )
Magis is absent all along the way ,but the film is not devoid of sadism : the soldier handed to the blood-thirsty automaton,people ending for lunch to the lions ;and what have the Amazons, who come from Greek mythology, got to do in "one and a thousand nights"?Why not Hercules or the mummy when they are at it?
The screenplay is muddled and desultory .
The wise adults would pass this up and watch the 1940 work or Pasolini's 1974 version,the latter not suitable for the children audience.
It cannot hold a candle to "the thief of Baghdad " (1940) from which it borrowed the automaton (a murderous sexy girl) ;firts of all,Donald O' Connor is at least twice Alladin's age ;a cosmopolitan cast does not help :To support the American actor , Italians (De Sica as the genius in the bottle) ,and FRench comedians (Noelle Adam ,Michèle Mercier ,future Angélique )
Magis is absent all along the way ,but the film is not devoid of sadism : the soldier handed to the blood-thirsty automaton,people ending for lunch to the lions ;and what have the Amazons, who come from Greek mythology, got to do in "one and a thousand nights"?Why not Hercules or the mummy when they are at it?
The screenplay is muddled and desultory .
The wise adults would pass this up and watch the 1940 work or Pasolini's 1974 version,the latter not suitable for the children audience.
Turner Classic Movies version different than on the VHS.
signaler-125 December 2021
The version shown on Turner Classic Movies several years ago, is different than the version available on VHS. In the TCM version, the girl is hung upside down twice and is threatened with having her feet burned with a torch. In the VHS version, the girl is twice is hung up by her wrists, and she is threatened with being burned with acid. At least one other poster has mentioned about the girl being hung upside down. The VHS version may have been edited with different segments in order to avoid censorship. I have not yet seen the DVD version, which recently became available.
The VHS version of the movie is fun to watch, if you are a fan of fantasy Arab movies like myself. The plot is predictable and cheesy, the humor is almost slapstick but who cares. The fight scenes are short, the stuntmen do their stunts, sometimes with flaming arrows in their backs. The genie, who offers to grant three wishes, actually does more than he is asked to do, apparently for his own amusement. That last part is a nice twist on the story.
The VHS version of the movie is fun to watch, if you are a fan of fantasy Arab movies like myself. The plot is predictable and cheesy, the humor is almost slapstick but who cares. The fight scenes are short, the stuntmen do their stunts, sometimes with flaming arrows in their backs. The genie, who offers to grant three wishes, actually does more than he is asked to do, apparently for his own amusement. That last part is a nice twist on the story.
I saw it in a theatre.
ONenslo28 September 2003
I had the remarkable experience of seeing this in a theatre. A local dollar movie got a copy of it about the time Disney's Aladdin came out and sh0wed it for matinees one weekend. Strangely, they didn't also get the LENS they needed for the widescreen presentation so it was all crunched horizontally and everybody was half as wide or twice as tall as normal. Add that to the fact that the movie itself is kind of dopey and absurd, with lots of good actors wasting their efforts, and the INSANE use of Vittorio De Sica playing the genie as a guy standing around in a choir robe, in footage shot elsewhere probably in about half an hour, and just matted into a cloud in the corner of the screen, and I'd classify this as one of the most frightening Mario Bava movie I've ever seen.
An alarming portrayal of BDSM!
gomerjohn24 January 2024
The widescreen Kino version reveals more of Noelle Adam's nudity and her long bondage ordeal as a captive of the sadistic Grand Vizier (GV). As he surveys his prisoners lying down at swordpoint, he smiles at Djalma, flexes his whip and says "I'll torture the girl at home!" Minutes later GV and his magician stroll across a dimly-lit stone dungeon to reveal Djalma's nude, shapely legs swaying high above the floor. She is hanging naked by her wrists and is tightly gagged with black cloth as GV begins her interrogation. He dabs acid on a skull to show her how she will be tortured if she won't talk. As he questions her, she struggles and mmmmmphs helplessly behind her gag. The magician indicates she can't confess since she is gagged. GV: "When I want your advice, I'll ask for it!" He also says "Let the people have their simple pleasures."
Two later scenes are filled with images of her hanging, gagged ordeal and naked legs. Twice more she moans and mmmmphs while gagged. After many hours suspended nude and gagged, with a brazier of fire beneath her as torture, she is finally rescued, only to later be captured again by GV! In one of the final scenes, Aladdin finds her hanging nude by her wrists again, being tortured by fire beneath her feet and waiting for the sadistic GV to return to have her again gagged for interrogation torture!
Advertised as a family film, the bondage and sadism in the last third of the film, with more than 30 shots of naked suspension and gagged interrogation torture, is pretty shocking stuff!
Advertised as a family film, the bondage and sadism in the last third of the film, with more than 30 shots of naked suspension and gagged interrogation torture, is pretty shocking stuff!
old images, imperishable tale
Vincentiu24 June 2012
adventures, Arabian Nights, game with a fairy tale, Vittoro de Sica as charming genie and childish joy . nothing new, nothing special. but a nice work. for the spirit of a time. for nostalgic memories. for a young Terence Hill as prince. for the love story. for bad guys. all at perfect place. like a summer afternoon in park. games, laughter, ironies, pleasure as only rule. a comedy like an old picture. the dust of time, the figures of few people, the air of a beautiful past, the image of childhood. so, it is not a bad or good film. it is. like a sign of a form of art. or passing years. like a circle of dust and voices. like need of a form, not very complicated, to escape from present. imagination of director is part of your vision about lost heroes and strange adventures. so, it is not a great error to see it.
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