The Barbarian (1933): A strange, dusty relic

Is it worth your time?

Honestly, you probably only want to watch The Barbarian if you have a soft spot for pre-code Hollywood nonsense or just really like looking at old desert sets. If you get annoyed by outdated tropes, you will absolutely hate this. It moves at the speed of a camel, but there is something weirdly hypnotic about the whole setup.

Cinematic perspective: Exploring the visual vocabulary of The Barbarian (1933) through its definitive frames.

The whole thing kicks off with Diana (Myrna Loy) wandering around Egypt. She looks bored, which is fair. Then she meets Jamil, played by Ramon Novarro. He is supposed to be this mysterious guide, but you can tell from the start he is up to something. The chemistry is... well, it is definitely a thing that is happening on screen. It is not exactly romantic, though. It is more like a 1930s fever dream.

Cinematic perspective: Exploring the visual vocabulary of The Barbarian (1933) through its definitive frames.

There is this one scene where he essentially kidnaps her, and the movie expects us to think it is charming. It is not. It is just awkward. You can practically see the writers, including Anita Loos, trying to balance this "exotic" adventure vibe with a standard romance. It doesn't quite stick the landing.

Cinematic perspective: Exploring the visual vocabulary of The Barbarian (1933) through its definitive frames.

Some random notes I scribbled down:

• The sets look like they are made of cardboard and hope. I love it.
• Ramon Novarro is doing a lot of heavy lifting with just his eyebrows.
• The dialogue is incredibly stiff. It feels like everyone is reciting lines they practiced in the mirror for three hours.
• Why is there so much singing? It just stops the plot dead in its tracks.

If you have seen Romance, you might recognize a similar vibe where the actors are trying to make a very thin story feel grander than it is. But here, the scale feels smaller, more intimate in a way that feels almost claustrophobic despite the desert backdrops.

Cinematic perspective: Exploring the visual vocabulary of The Barbarian (1933) through its definitive frames.

I found myself staring at the background extras more than the main characters. Half of them look like they are just waiting for lunch break. There is one guy in a turban who looks absolutely miserable in the background of a café scene. I feel you, buddy.

Cinematic perspective: Exploring the visual vocabulary of The Barbarian (1933) through its definitive frames.

The movie doesn't really know what it wants to be. Is it a thriller? A romance? A travelogue? It is none of these things, really. It just exists. Sometimes that is enough if you are in the right mood. If you aren't, it is a long 80 minutes.

It is definitely not a classic, but it is an interesting artifact. It is the kind of thing you put on while doing laundry, only to find yourself stopping because you are confused by a plot twist that makes zero sense. 🐪