Kismet

Plot

Hajj, a clever and resourceful beggar living on the streets of Baghdad, dreams of elevating his family's social status through strategic marriages. When he discovers that his daughter Marsinah has fallen in love with the Caliph's son, Hajj sees an opportunity to arrange a royal match while simultaneously pursuing his own romantic interest in the Queen. Through a series of elaborate schemes, disguises, and clever manipulations, Hajj navigates the treacherous court politics, outwitting the Grand Vizier and other adversaries who stand in his way. The beggar's plans become increasingly complex as he must balance his daughter's happiness, his own ambitions, and the dangerous consequences of his deception. In a dramatic climax, Hajj's true character is revealed when he must choose between personal gain and the welfare of his daughter and the kingdom.

Historical Background

The 1920 release of 'Kismet' occurred during a transformative period in American cinema, as the industry was transitioning from short films to feature-length productions and Hollywood was establishing itself as the global center of film production. Post-World War I America experienced a surge of interest in exotic cultures and foreign settings, with audiences seeking escapism from the realities of war and social change. The Orientalist craze that swept through American popular culture manifested in everything from interior design to fashion, with films like 'Kismet' capitalizing on this fascination with the 'mysterious East.' The film's themes of social mobility and cleverness triumphing over birth status resonated with American ideals of the self-made man, even while set in a foreign context. This period also saw the rise of the star system in Hollywood, with established theatrical performers like Otis Skinner being recruited to lend legitimacy to the new medium of cinema.

Making Of

The production benefited from Otis Skinner's deep familiarity with the material, having performed the role hundreds of times on stage. His theatrical experience helped bridge the gap between stage acting and the emerging art of cinema, particularly in conveying the character's wit and charm without dialogue. The film's sets were constructed on Paramount's largest soundstages, with the palace scenes requiring extensive decoration and props to create the illusion of Arabian luxury. Costume designers researched historical Middle Eastern garments while adapting them for the romanticized vision expected by 1920s audiences. The filming process was relatively straightforward for the era, with Gasnier focusing on capturing Skinner's stage performance style for the camera. The production team worked closely with Skinner to ensure that the nuances of his celebrated stage performance translated effectively to the silent medium.

Visual Style

The cinematography by Charles J. Stumar employed the sophisticated techniques emerging in the early 1920s, including careful lighting to create dramatic shadows and highlights that enhanced the exotic atmosphere. The film utilized multiple camera setups for the palace scenes, allowing for more dynamic compositions than typical stage adaptations. Stumar employed soft focus techniques for romantic scenes and sharper focus for moments of intrigue and scheming. The marketplace sequences featured moving camera shots that created a sense of bustling activity and energy. The cinematography emphasized the contrast between the opulent palace interiors and the dusty streets where Hajj plied his trade, visually reinforcing the film's themes of social stratification. Lighting was particularly important in creating the film's Orientalist aesthetic, with dramatic shadows and golden tones that suggested an exotic, timeless quality.

Innovations

While not groundbreaking in technical innovation, 'Kismet' demonstrated the sophisticated production techniques that had become standard by 1920. The film featured elaborate set design and construction, with the palace interiors requiring complex architectural elements and decorative details. The costume department created numerous elaborate outfits that reflected the film's Orientalist aesthetic while allowing for the freedom of movement necessary for silent film acting. The production utilized the full range of special effects available at the time, including dissolves, superimpositions, and matte shots to create magical or dreamlike sequences. The film's editing employed the continuity techniques that had become standard in Hollywood by this period, creating smooth narrative flow between scenes. The production also demonstrated advanced lighting techniques for the era, with careful attention to creating mood and atmosphere through artificial lighting.

Music

As a silent film, 'Kismet' would have been accompanied by live musical performance during its theatrical run. The score would have been compiled from various classical pieces and popular songs of the era, with theater organists or small orchestras providing accompaniment. The music likely included pieces with Middle Eastern or exotic themes to enhance the film's Orientalist atmosphere. Paramount may have distributed suggested musical cue sheets to theaters to ensure consistency in the viewing experience. The romantic scenes would have been accompanied by sweeping, melodic pieces, while moments of intrigue and scheming would have featured more dramatic, tension-building music. The absence of dialogue made the musical accompaniment crucial in conveying emotion and advancing the narrative, with the score serving as an essential storytelling element alongside the visual performances.

Memorable Scenes

• The opening marketplace scene where Hajj demonstrates his cleverness by outwitting merchants and authorities simultaneously, establishing his character as a resourceful anti-hero
• The palace ball sequence where Hajj, disguised as a wealthy merchant, navigates court politics while pursuing his romantic interest in the Queen
• The emotional confrontation between Hajj and his daughter Marsinah when she learns of his schemes to marry her to royalty
• The climactic scene where Hajj must choose between his own ambitions and his daughter's happiness, revealing his true character

What Critics Said

Contemporary critics praised Otis Skinner's performance, noting how effectively he translated his stage characterization to the silent medium. The New York Times particularly commended Skinner's ability to convey the beggar's cunning and charm through facial expressions and gestures, writing that 'the famous actor has lost none of his stage magnetism in this new medium.' Variety magazine highlighted the film's impressive production values and exotic atmosphere, calling it 'a visual feast that captures the imagination.' However, some critics noted that the film relied heavily on theatrical conventions and might have benefited from more cinematic techniques. The Los Angeles Times praised the supporting cast and the film's pacing, noting that the story moved briskly despite its theatrical origins. Modern assessment is limited by the film's lost status, but film historians consider it an important example of early adaptation techniques and the transition from stage to screen storytelling.

What Audiences Thought

The film was well-received by audiences of its time, particularly those familiar with Otis Skinner's celebrated stage performance. Contemporary theater-goers were eager to see Skinner recreate his most famous role on screen, and the film drew substantial crowds in major cities. The exotic setting and romantic storyline appealed to post-WWI audiences seeking entertainment and escapism. While exact box office figures are not available, trade publications reported strong attendance, particularly in urban areas where the original stage play had been popular. Audience letters to film magazines of the era frequently mentioned Skinner's performance as the film's main attraction, with many expressing satisfaction that his theatrical charisma translated effectively to cinema. The film's success helped establish the viability of adapting popular stage works for the screen, encouraging studios to pursue similar projects in the early 1920s.

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