jacobs-greenwood Six foot, three inch Gary Cooper standing upright and passing through the palace guards undetected among the Chinese peasants (e.g. pretending to be a Chinaman himself) isn't the only unbelievable moment in this fictionalized biography of the great Venetian explorer.According to Robert Sherwood's screenplay, or N.A. Pogson's story, produced by Samuel Goldwyn and directed by Archie Mayo, Marco Polo (with help from Kaidu, played by Alan Hale) actually saved China, rescuing emperor Kublai Khan (George Barbier), and his daughter Princess Kukachin (Sigrid Gurie), from his own ambitious adviser Ahmed (Basil Rathbone), as well as bringing spaghetti and coal to Italy.Apparently Polo also discovered that the gunpowder China used to burn bright for celebrations and make firecrackers (as toys) could be also be utilized on a larger scale for weaponry (e.g. to blow up gates or bring down walls). Since historians question the facts surrounding this famed, mid-to-late 13th century trader-explorer, I'll not comment further on the validity of such claims.In the film, Ernest Truex plays Polo's traveling companion and bookkeeper Binguccio, Binnie Barnes plays Kaidu's wife Nazama, H.B. Warner plays the native Chen Tsu who helps Polo, Ferdinand Gottschalk the Persian Ambassador, Harold Huber plays Toctai, the assassin Ahmed sends to kill Kaidu, and Lana Turner plays Nazama's maid, who's coveted by Kaidu.Because his son is young and popular with the ladies (his disarming good looks?), Nicolo Polo (Henry Kolker) and some Venetian businessmen decide to send Marco (Cooper) to the East to establish trade agreements. First he travels by ship, but when it's wrecked by a storm, he and Binguccio (Truex) continue on foot through the desert and then the mountains of Tibet to China. He meets Chen Tsu and his humble family and learns that the emperor's adviser Ahmed (Rathbone) is not to be trusted.After his introduction by his father's letter, Marco quickly earns Kublai Khan's (Barbier) admiration when he helps to sort the emperor's concubine women, culling out the guessers and those who are too smart. Later, Marco is smitten with the Princess Kukachin (Gurie), to whom he introduces the Western custom of kissing, even though she's betrothed to the King of Persia. Lotus Liu plays the Princess's handmaiden Visahka. When Ahmed learns of it, he's threatened such that he convinces Khan to send Polo to a troublesome, overtaxed province to spy on its leader Kaidu. Ahmed orders Bayan (Stanley Fields) to kill the Venetian en-route; he reports back that he'd succeeded, prematurely.But Marco is captured by Kaidu's (Hale), though he's saved from execution by Kaidu's instantly smitten wife Nazama (Barnes). Kaidu sees an opportunity to spend time with his wife's maid (Turner) while Nazama is distracted by Polo. Ahmed convinces Khan to go with his troops to conquer Japan and is pleased to learn that the emperor's fleet was lost at sea. He decides that the Princess will be his wife, but she sends a warning by air (a hawk?) to Marco; conveniently, it's intercepted (shot down) by Kaidu's men.Marco insists that he must go, but is delayed by Kaidu. Marco then recognizes that Ahmed's assassin Toctai (Huber) has become entrusted as one of Kaidu's men. He plots Kaidu's assassination, but only in order to save the rebel leader and expose Toctai. This earns Marco the privilege of returning to the emperor's palace, where Khan himself had returned to find that Ahmed had the Princess in a precarious position, tied down under his vultures. This forced Khan to sign away his power and become Ahmed's puppet.Marco's first stop in Beijing is Chen Tsu's humble home, where he orders and/or commandeers all the flash power (e.g. gunpowder) for the wedding celebration between Ahmed and the Princess to create bombs capable of bringing down the palace gates. When Kaidu and his men arrive, Marco tells Kaidu the obvious (e.g. that his men should attack the gate tower), helping the rebels to take the palace so that Marco can rescue the Princess.The explorer is somehow adept enough to take on Ahmed singlehandedly and overpower him such that he falls into his own den of lions, where he's killed. A grateful King asks Marco to escort the Princess to Persia, a trip assured of being a long one (e.g. to the kissing partners delight).

MARIO GAUCI In itself corny and uneven, this is typical 30s entertainment done on a grand scale; the look of the film is artificial but undeniably lavish. Being a Samuel Goldwyn production, the film is the very antithesis of a history lesson; still, it's more interesting when dealing with the title character's various discoveries in the Orient than his romantic conquests! Goldwyn, however, could surely afford to employ a reliable cast - most of whom, though, one would be hard-pressed to accept as Chinese - including Gary Cooper (likeable as always in the lead, if not exactly believable), Basil Rathbone (a typically sly villain), Sigrid Gurie (Kublai Khan's daughter and, naturally, an object of contention between Cooper and Rathbone), Ernext Truex (funny as Cooper's flustered sidekick), Alan Hale (a jovial rebel leader) and H.B. Warner (who basically replicates his dignified Chang from LOST HORIZON [1937]). Action is sparse but nicely handled (particularly the climax) and, surprisingly, the montage sequences (a feature of many films of the era) utilize some interesting optical effects.The IMDb lists the uncredited contribution of two other directors - John Cromwell and John Ford; since the latter's frequent cinematographer Archie Stout does feature in the credits, I'm inclined to believe Ford was involved at some point...though it doesn't really show in the finished product (the subject was hardly up his street, to begin with)! Back in the day, I had watched both the 1965 international epic MARCO THE MAGNIFICENT and the 1982 TV mini-series MARCO POLO; I'll be following this with an Italian low-brow variation made in 1961 (see review below) and might even rent the recent 1998 version, THE INCREDIBLE ADVENTURES OF MARCO POLO (shortened to MARCO POLO for the U.S.) - if only because it features Jack Palance and Oliver Reed, and was written by Harry Alan Towers!

jotix100 Archie Mayo's 1938 "The Adventures of Marco Polo" is an odd film to watch. Even giving it the benefit of the doubt, this misguided attempt to bring the legendary figure to the screen doesn't quite make it. Not even by a stretch of the imagination can we believe that the Chinese inhabitants of Cathay could look like these actors on the screen. John Cromwell and John Ford are not credited, but they must have been called as consultants to a losing enterprise that even these talented directors couldn't help fix. Robert Sherwood, a distinguished writer of better films, is responsible for writing the screen treatment, but frankly, his imprint is lacking in the finished product.Of course, times have changed and no Hollywood producer would dare to give this type of "entertainment" to today's audiences because they would be seen as ridiculous, at best. The film came out at a time when audiences were less sophisticated and more willing to accept stories such as this one. Even for a film produced by Samuel Goldwyn, this production looks tacky. It's obvious the people behind this film either had budget problems, or they didn't get the right art directors to improve the film.Gary Cooper, as Marco Polo, appears to be lost. The beautiful Sigrid Gurie is made out to look oriental to resemble this Princess Kukachin she is supposed to be. The only one that escapes the debacle is Basil Rathbone. His Ahmed is a villain, and he plays it with relish. George Truex, Alan Hale, H.B. Warner, are seen in minor roles.Watch this film as a curiosity, but don't expect too much.

C.K. Dexter Haven When they mention cornball Hollywood hokum they're talking about pictures like this catastrophe. I honesty don't know how I made it through the whole thing. One of the definitive pieces of half-witted rubbish ever produced. Makes John Wayne's 'The Conqueror' look like a masterwork.Like the reviewer below mentions, this is Flash Gordon level cheesy. But the makers of Flash knew they were making cheese and Buster Crabbe at least made those serials fun to watch. Cooper sleepwalks through this like he's in shock, or dreaming he's making just another bad movie at Paramount. This one transcends bad. It's not even remotely 'good' bad. It's truly one of the worst films ever made, despite having a solid cast and budget. It distresses me to no end that the writers of this debacle probably bought a new Packard with their salary. God knows what Sam Goldwyn was thinking when he gave this one the go ahead.If you get half way through this one with your sanity intact, brace yourself. By the end you'll be fighting the urge to jam a screwdriver in your ears.