Abdul the Damned: A sweaty, strange relic of 1935

Is it worth your time?

If you're a fan of old-school, slightly dusty British cinema and don't mind a movie that feels like it’s held together by spit and prayer, then yes, give Abdul the Damned a look. It’s definitely not for the folks who need their history lessons served with modern pacing or coherent politics. It’s for the weirdos who enjoy watching Fritz Kortner sweat through his robes while acting like the world’s most insecure despot. If you hate slow-burn melodrama or over-the-top theatrical acting, you’ll probably want to skip this one entirely.

The whole thing has this frantic, trapped energy. It’s 1908, and the Sultan is busy hiding behind curtains while the Young Turks are knocking on the door. Honestly, watching him try to balance being a ruthless tyrant with being a lonely guy who just wants an Austrian singer to like him is kind of exhausting. It’s a mess, but it’s a watchable one.

Fritz Kortner is doing a lot of heavy lifting here. He’s got these wide, twitchy eyes that make you wonder if he’s about to give a speech or just have a nervous breakdown. Every time he’s on screen, the camera seems to move a little closer, like it’s scared of him. The scene where he obsesses over the singer while the government is literally crumbling outside his window is just wildly out of touch. You can almost feel the movie trying to convince you that his loneliness is tragic, but it mostly just feels sad and creepy.

The pacing is a bit of a disaster. Some scenes linger until they start to feel like you’re sitting in the room with them, watching the paint peel. Then, suddenly, there’s a big political pivot that happens so fast you’ll get whiplash. It’s definitely not a smooth experience, but that’s kind of the charm. It feels more like a stage play that someone accidentally filmed than a polished piece of cinema. It reminds me a bit of the frantic, messy vibe you get in Evensong, where the musical interludes and the drama don't quite know how to talk to each other.

The sets look like they’re one stiff breeze away from falling over. There’s a distinct lack of extras in the crowd scenes, too. It’s like the Ottoman Empire was mostly populated by five guys and a very nervous singer. 🎭

• That moment the Sultan hides behind the velvet curtain? Pure melodrama.
• The lighting in the palace is surprisingly moody for a movie from '35.
• The supporting cast mostly just stands around looking concerned.
• I’m still not sure what the singer was thinking, but her costumes are at least fun to look at.

It’s a strange little relic. If you’ve seen Innocence, you know how these older films sometimes lean too hard into the melodrama to hide a thin budget. This is basically that, but with more beards and political angst. It won’t change your life, but it’s definitely not boring.