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Film · Pathé · 1902

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Ali Baba and the Forty Thieves

26Leave it.

A child can watch the jars, and this sketch is not the whole tale.

Take controlThis scores 26. Ali Baba and the Forty Thieves cannot be blocked by name on this shelf. The lock is the phone. Block it

The review

Ferdinand Zecca's 1902 féerie gives you the cave, the jars, and the thieves. A child can watch it. I am not going to describe a killing, and you shouldn't either. The trick of the jars is the pleasure. If that trick lands, the reel has done the only job it really has.

It is a sketch, not the whole tale told at length, and not a later feature. I wouldn't pretend the children got Ali Baba. They got a painted bit of it. That's enough for a short look. It is not enough to skip the story you would actually tell them.

Journal

Keep Ali Baba and the Forty Thieves in the record.

No house has filed a sentence for this yet.

Live Historic number 26. Yours can differ.

The glance

Industry and Household and Piety and Courage and Republic and Temperance and Truth and Stewardship are the thin ones.

Does anyone here do a real job, and does that job matter?

This phone is set for a grown person, just me. Change the ages.

Consider this

Descendants

38 instead of 26

Descendants is still a fantasy film, and it scores 38 instead of 26. What you gain is household: Parents as famous silhouettes.

The eight

2
Industry
Thieves and a cave, not a living anyone would call a job.
2
Household
No marriage or child is lived; the sketch stays on the jars.
2
Piety
The reel wants the jar trick, not a conscience that stops.
3
Courage
The thieves and the cave imply a risk the sketch barely plays.
2
Republic
A band of thieves, and no town is owed a straight account.
3
Temperance
The pleasure is the jars, a trick you watch and finish.
4
Truth
Honest as a sketch, and it does not tell the whole tale.
3
Stewardship
Left behind is a jar trick, not the story at full length.

Where to watch

Finding the page.

Live Historic · Ali Baba and the Forty Thieves · 26IMDb

Live HistoricSee what matters.

Film · MGM · 1958

Pass it on

Gigi

26Leave it.

A best picture. The training is the rot, and the marriage at the end does not redeem the school.

Take controlThis scores 26. Gigi cannot be blocked by name on this shelf. The lock is the phone. Block it

The review

It won the best picture of its year, and the award does not change the curriculum. A grandmother and an aunt are training a young woman in Paris to be the mistress of a rich man: how to choose jewels, how to behave at the table, how to be expensive. The young man who has been wandering through other such arrangements decides he wants this one, and the happy ending is that he marries her instead. The film expects the marriage to retire the question.

It does not. The school was the story, and the school is a preparation of a girl for a man's use. The songs are lovely and the loveliness is the danger, because loveliness is how the curriculum gets past a room. I would not put it on for a young woman as a charming antique. If adults watch it as history, say what the aunt was actually teaching before the last waltz. The last waltz is not a pardon.