The Film (3/5)

Returning to her childhood convent after the death of her father, Domini Enfilden (Marlene Dietrich) is lost in life. She has never lived for herself, and this sudden freedom has left her empty and confused. After getting some advice from her old Nun mother, she chooses to find herself in the desert of the Sahara. While on her journey, she crosses paths with a passionate, yet distant man named Boris (Charles Boyer). As the two get to know one another, a romance starts to blossom. But all is not so simple for these young lovers, as both of their faiths will be tested in the blistering sun of the Sahara.

THE GARDEN OF ALLAH (1936) was an early producing credit for legendary producer David O. Selznick. It also was made during Marlene Dietrich's golden period of popularity. But here Dietrich plays against type. Instead of her empowered and usual sexual energy, we see her as the virginal and troubled girl of good faith. In an odd way feeling more like a picture with Greta Garbo in mind. This would be one of her few "good girl" roles. One film this mirrors is 1933's SONG OF SONGS, just without the sudden transformation into a sexual donating muse.

GARDEN comes from a period when the Hays Code was first heavily enforced by the likes of Joseph Breen, so the content seems to be forcibly happy. But despite this and an over the top spiritual crisis, the movie finds a happy balance and turns into a dreamlike lullaby. The spiritual element begins in a ham-fisted way, with some hilarious scenes with the monks and the broken vow of silence. But once the actions shift to the Sahara, the film starts to find its footing.

Being a Selznick produced picture, the film is a sight to see. The matte paintings of the deserts are pure Hollywood magic. The rest of the production is top of the line. While not realist, it quickly transports the viewer to this golden never never land.

On the acting side of things, Dietrich is wonderful as always. But it's a shame she is such a goody here instead of her more famous roles in BLUE ANGEL or BLONDE VENUS. But still the camera loves her, and the close ups are still haunting. The film, also here first in Technicolor, dances with her image. The film's melodramatic energy reaches a fever pitch and especially the ending scene shows her at her best. Charles Boyer (GASLIGHT, EARRINGS OF MADAME DE) is a real surprise here turning a dull part around and feeling it with emotion. In a small but central role is Basil Rathbone who gets to shine in his few scenes. Also, The lights of John Carrindine and Tilly Losch.

 While not a perfect film, GARDEN takes the material and makes a dream scape of emotions. While the spiritual angle is a little over played, the film never takes it too seriously. A perfect little movie to be lost in on a lazy Sunday afternoon.

Audio/Video (4/5)

The English 2.0 DTS-HD Master audio track is smooth as velvet. There is no hum or buzz noises like some older pictures. The musical score by Max Steiner sounds like it was recorded yesterday. English subtitles are included.

The 1080p transfer is above average. It shows off the milky and candy colors of the technicolor process. There are a few spots, where the corners of the screen are a little flat and hazy. The reds and yellows are the best of all the highlights. As for grain and print damage, aside from a couple frames here or there, the movie looks fantastic. The black levels are smooth, and the focus is never lost.

Extras (2/5)

Extras are limited to a trailer gallery featuring NO HIGHWAY IN THE SKY, BLUE ANGEL, YOUNG IN HEART, INTERMEZZO, and I'LL BE SEEING YOU.

Overall (3/5)

A surprising little movie from Dietrich and company. Thanks to Kino's lovely transfer, hopefully this film will find a bigger audience. Recommended.