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I have to admit I didn't think this movie was half as terrible as I have been led to trust through negative reviews here on IMdB and elsewhere. So, if it isn't all terrible ... I accept it isn't historically accurate but neither was Elizabeth and 100s of another 'historical' films. It is a bit leaden in places, true. Francoise Dorleac gets a bit tiresome although even she has her moments. The script may be a bit dodgy in territories but looking at what we receive in newest years ... I don't have a trouble with Sharif in the game role at all - I thought he was fine. The 'Chinese' being Mason and Morley was distracting but even at their worst these two were everytime entertaining. Eli Wallach and Michael Hordern create interesting appearances. Even done on the cheap the movie doesn't look terrible and I enjoyed it better than, say, Demetrius and the Gladiators. And then there was pretty Stephen Boyd if all else failed, everytime a pleasure to watch. Genghis Khan a turkey? Let's just tell 'I've seen worse'.
Historical precision is not very likely in an epic like this, but that's not the point, especially after so many years have passed since it was made. Considering 'Genghis Khan' now, it stands out as a dandy museum piece, not only in the 'they don't create 'em like this any more' category, but because it's such a full-blown test at making a splash in the epic movie sweepstakes of the 1960s.Yeah, it's a tinker-toy epic, but nice fun, despite aiming at serious drama. Only 'Marco the Magnificent' outdoes it for 'Mutinational Production Prize' of its era.Interestingly, it's a 'gap-filler' epic. That is, in the years when each ancient or legendary subject/culture seemed to be tackled by producers, hoping to strike 'Ben-Hur' gold, filmmakers shopped around history, looking for special topics to create an impression. Sooner or soon the nice Khan's number was going to come up. 'The Conqueror' with John Wayne seems more like a western (duh!), while 'Genghis' now has a central Asian feel to it. Like its mate, 'The Long Ships', this is a Yugoslavian-filmed venture, a mini attempt to emulate Sam Bronston's epic production efforts over in Spain.After Bronston's nice empire unfortunately folded, another attempts to take up the epic gauntlet were made. This is one of the most sincere. A nice cast, cute respectable art direction, a sense of epic sweep, and a predictable but often witty script, they're all here. I'm sure the distinguished cast did it for the money, but at least they probably had a nice time doing it. At its greatest it's a decent test at being epic. At its worst, it's a curiosity, but a cute amusing one.Highlights: - Dusan Radic's wonderful score. He achieves a Rosza-like standard, I think.Michael Hordern yelling 'TEMM-U-JEEN!!!' endlessly.Omar Sharif's yoke. Enthusiasts can see who wears his longer: Omar or John Wayne.James Mason's Mandarin parody. Politically correct it ain't.Bob Morley steals the present (as usual), as the effete emperor. The only hero in cinema history who is killed just by WATCHING fireworks. Greatest line, as he hands a featherweight fanatic to a servant: 'Take it, it grows heavy'.Orson Welles WASN'T in this one, but could have been.Francoise Dorleac is of course very Euro, but not terrible to look at.Any picture with Geoffrey Unsworth behind the camera is going to have some items going for it. Seeing it in full Panavision on the large screen would certainly give this picture more respectability.I await its' much-deserved DVD appearance.
I remembered enjoying this movie when I saw it as a pre-teen on tv in the '60's. I have remained an avid fanatic of journey movies and epics. So, when it was aired yesterday on TCM, I tuned in with anticipation. It had not aged well. Perhaps all of the anomalies are more hard for a mature film fanatic to accept.The greatest parts of this movie are the locations, the sets, the costumes and the props. Even so, the sets are never quite convincingly grand enough. They retain the flavor of sets. The photography never captures the territories in a method that conveys the vastness of Central Asia. And the impact of the costumes and props is diminished by the fact that they are at the service of a predominantly Caucasian cast attempting to portray the tribes of Mongolia.Blonde Francoise Dorleac, who portrays Genghis Khan's wife is the most glaring racial anomaly. But the whole cast is similarly anomalous. At least Stephen Boyd and Omar Shariff aren't blond. But Englishmen, James Mason and Robert Morley look hopelessly out of place. (I personally wondered how folks of Oriental heritage reacted to Mason's stereotypical pronunciation of the letter "L" as an "R!") I don't really search a lot of fault with the portrayals offered by Mason and Morley, although I do accept with the recommendation of few reviewers that they seem like they wandered in from a production of the Mikado.Lastly, I cringed at the soundtrack - typically Occidental-sounding pseudo-epic orchestrations with grandiose flourishes. The heroic-sounding 4/4 marches were typical of the Sword and Sandal epics of the day. Only a stray chord here and there recommended an Oriental setting. In that era, it was inconceivable to cast Orientals in the principal roles of a movie of this one's pretensions. Under the circumstances Hollywood would have done better to simply avoid attempts to depict tales of Asian peoples.In the end, bizarre casting and fully Occidental-sounding melody render this movie hard to swallow for a film-goer looking for anything beyond a shallow journey story. With the number of Oriental actors in Hollywood movies today, a GOOD portrayal of the life of Genghis Khan is ripe for filming!
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