In December 1941 a Pennsylvanian dentist on holidays in New Mexico, was enjoying exploring the famous caves of Carlsbad Caverns. Dr Lytle S Adams was very impressed by the activity of about a million bats flying around in the dark in the caverns that were their home. He was still vacationing at Carlsbad on the evening of the 7th when news came through about the surprise Japanese bombing of Pearl Harbour. Adams, like every patriotic American was shocked and appalled at the attack, but unlike most every other private citizen, Adams decided, more or less immediately, to actually do something about it.
The small town dentist from Irwin, Pa. devised a plan of action…within one month he submitted a seemingly preposterous proposal to the White House – Adams proposed using bats as flying incendiaries to hit back at Japan in its own cities! An apparently hare-brained notion like this from a suburban dentist could normally be expected to receive short shrift from bureaucrats and military authorities, but Dr Adams had some special connections, he was a friend of the First Lady, Eleanor Roosevelt. This guaranteed Adams’ proposal would get a good official hearing from the Military, and eventually (through a recommendation from leading zoologist Donald Griffin) the approval of President Roosevelt.
The right bat for the operation
Adams reasoned that radar-guided “bat bombs” would wreak havoc when dropped on Japanese cities because the buildings and other structures were made largely of wood, bamboo and paper. The idea you would think, to most reasonable ears, would sound ‘batty’! Adams however can’t be accused of not doing his homework…he researched the subject of bats extensively, eventually selecting the Mexican or Brazilian Free-tailed Bat (Tadarida Brasiliensis), highly prevalent in the southern regions of the US, as the optimal candidate for the task.
Mexican F-tailed Bat-cave, Carlsbad
What made the Mexican bat an attractive choice to Adams and his team of field naturalists (and to the NDRC – National Defense Research Committee) was that it weighed only ⅓ of an ounce, but could carry three-times its weight (one ounce!) Other biological factors in favour of using bats as carriers was that they occurred in large numbers, their proclivity towards hibernation and dormancy meant that they didn’t require food or maintenance, and their capacity to fly in darkness and locate dark, secluded niches to hide in during daylight [‘Bat Bomb Video’, www.wizscience.com].
Destruction by weaponised bats – the theory
The US Military embraced Adams’ idea and developed a strategy to weaponise the bats: attaching micro-incendiary devices to thousands of captured bats…the Pentagon boffins devised canisters (each had compartments housing up to 1,000 hibernating bats) to transport the bats in. B-24 Bombers would release the canisters over Japanese industrial cities initially in the Osaka Bay area of Honshu at 1000 feet. The casings would break apart at high altitude, the now awake bats would scatter and roost in dark recesses of buildings all over the city. The bats, attached to the micro-bombs by surgical clips and some string, would bite through the string and fly off. The time-activated explosives would then cause countless fires to break out all over the targeted city [Anders Clark, ‘NAPALM BATS: the Bat Bomb!’, 3-Mar-2015, Disciplines of Flight, www.disciplesofflight.com].
B-27 Liberator flying over Carlsbad National Park
Bat bomb trial-and-error
The Military labelled the bat bombs Project X-Ray and soon got down to testing Adam’s secret weapon. The first bat test the Army conducted was in May 1943 in California. Several thousand bats collected from New Mexico were induced into hibernation and then dropped from a refrigerated aircraft using dummy bombs. Unfortunately things did not go to plan…many of the bats didn’t wake from their hibernation and merely crash-landed on California soil, while only some of them managed to fly away. The attrition rate for the Army’s test bats was accordingly high. Altogether over the Project’s lifespan around 6,000 bats were used in the Bat Bomb tests (about 3,500 of these were collected from the Carlsbad Caverns) [CV Glines, ‘The Bat Bombers’, Air Force, Oct 1990, 73(10); Clark, op.cit.]
1943: Army Bat Bomb test goes haywire!
The location got changed to an Army auxiliary airfield near Carlsbad (easier access to the seemingly inexhaustible supply of bats from the caverns). Eventually the Army loaded the bats with explosives to trial some live runs. Again the bats performed erratically as glide missile pilots but this time with unintended and negative results…an Army aircraft hangar caught fire, as did a car belonging to an Army general [Clark, op.cit.]. Disillusioned by the reverses, the Army hand-balled the Project on to the Navy and Marine corps.
The Marines and the Japanese Village
The Marine corps in particular took on the renamed “Project X-Ray” with some enthusiasm…after several encouraging tests the test site was moved to the Dugway Proving Grounds in Utah, where a mocked-up Japanese Village had been created in 1943✱. The Dugway tests went better than the earlier ones, according to the testers “a reasonable number of fires” were successfully ignited, and a NDRC observer present commented that “It was concluded that X-Ray is an effective weapon”.
Dugway Proving Grounds, Utah
Tests at the Dugway, Utah, site continued in 1944 with the Marine corps believing that the Bat Bomb Project could be deployed against Japan by mid-1945. The Navy hierarchy however was unhappy at the prospect of a delay of another twelve months-plus and canned the project altogether. The US subsequently focused on bringing the atomic bomb to a state of readiness, and the outcome of those efforts altered the course of both the war and of postwar history.
Dentist-inventor Adams was extremely disappointed when the Military pulled the plug on the project. Adams maintained that what happened with the atomic devastation of Hiroshima and Nagasaki could have been avoided if the US had stuck with his bat-delivered bombings: (would have caused) “thousands of fires breaking out simultaneously … Japan could have been devastated, yet with small loss of life” [‘Top Secret WWII Bat and Bird Bomber Program’, 6-Dec-2006, www.historynet.com].
PostScript: Project Pigeon, BF Skinner’s birds of war
Before the idea of bat-bombing Japan briefly captured the imagination of the US defence establishment, serious consideration had already been given to weaponising pigeons to be used in warfare! The notion was first mooted by influential, pioneering US behavioural psychologist Burrhus Frederic Skinner in 1939. Skinner believed that the humble feral street pigeon, Columba livia domestica, had the innate attributes (excellent vision and extraordinary manoeuvrability) to be trained to guide glide missiles. The behaviourist utilised his technique of operant conditioning to train the birds by rewarding them for pecking a moving image on a screen which accurately steered the missile they were piloting towards their intended target✫ (and unfortunately also towards their own destruction!)
BF Skinner’s pigeons of war
Skinner got some backing from business and the NDRC for Project Pigeon (as it was called), and he was able to demonstrate success with trained pigeons, however the government/military was never more than at best lukewarm on the Project…ultimately by 1944 the Military abandoned the Pigeon Missile because of concern that its continuation would divert crucial funds away from the “main game”, the construction of an atomic bomb. In 1948 the Navy revived the Project, now renamed Project Orcon but in 1953 it was dumped for good when the superiority of electronic guidance systems was established [Joseph Stromberg, ‘B.F. Skinner’s Pigeon-Guided Rocket’, The Smithsonian, 18-Aug-2011, www.smithsonianmag.com; ‘Project Pigeon’, https://en.m.wikipedia.org/wiki/Project_Pigeon].
Footnote: the US Military’s experiments on bats and pigeons were classified and conducted covertly under a wartime information blackout. They would not of course have been condoned by the American Humane Society (for the welfare of animals) had the organisation known of them.
▦ See also related blog JUNE 2017 on USA/Japan conflict in World War II: Project Fu-Go: Japan’s Pacific War Balloon Counter-Offensive
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✱ two mock-up enemy villages were constructed on this same site side-by-side, a Japanese one and a German one
✫ Skinner, also an inventor, devised a nose cone (attached to a explosives warhead) in which up to three pigeons could perch and pilot the missile’s trajectory
❝When counterfeiting was artisanal,
It didn’t bother us much,
Now it’s become industrial,
And we’re frankly very worried❞.
~ Adrian de Flers, Comité Colbert
(An association of French couturiers and perfumers dedicated to “promoting the concept of luxury”)
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Go to any of the world’s tourist hotspots today, anywhere on the international tourist trail in fact, and check out, say, the historical centre of that city and it’s inevitable that you will run into a tsunami of vendors with stalls and shops chock full of knock-offs of designer goods…everywhere you go locals flogging pirated copies of fashion label textiles, shoes, bags, electronic goods, homewares, you name it. And of course there will always be a plethora of takers among the ranks of Western tourists, eager to take advantage of the “great deals”. For some the shopping bonanza may even supersede the profoundly more meaningful chance to engage with different cultures, histories and cuisines around the globe.
The therapeutic springs of the limestone TravertinesMany shopkeepers and retailers in tourist areas no longer bother trying to conceal the faux nature of their merchandise. At the beginning of this year while in Mexico City I was strolling through the Chinatown section of town and came upon a shady looking electronics kiosk pop-up that was selling digital devices labelled as “Clon Samsung”, openly heralding the cloned nature of the product! In Turkey at a small roadside market set up on the outskirts of the famous and unique natural wonder, the Pamukkale Travertines, a prominent banner proclaims in unmissable bold, large, capitalised letters: GENUINE FAKE ROLEX WATCHES FOR SALE!✱ In the less developed world knock-offs are a way of life and a way of commerce – part of what is sometimes blandly described in official television news circles as the “informal economy”, or in old-speak, the black market!
In 2011 the president of Mexico’s Confederation of the National Chamber of Commerce, Services and Tourism stated that the yield from the sale of counterfeit consumer goods in the country each year is US$75 million, greater than the combined income earned by Mexico from oil, remittances and tourism! (and growing at an exponential rate since that date) [Cheryl Santos, ‘a look at the colors and styles of Mexico City’s bootleg fashion markets’ (7 May 2016), www.i-d.vice.com].
Resisting everything including temptation
It does seem, from the standpoint of your average “Joe or Jill” Western tourist, that the impulse to turn the overseas travel excursion into a shopping junket, the chance to replenish that flagging winter wardrobe with a raft of cut-price bargains, is increasingly the fashion de jour when O/S. Third World imitations of high quality Western merchandise are sold at a fraction of the price and increasingly look passably (or at least remotely) like the real thing. So, who doesn’t want to end up back at his or her home airport knee-deep in inexpensive knock-offs?
Who? Well, me for one! Frankly for one thing I’ve never seen the sense of collecting a whole bunch of extra garments and accessories on route that I’ll have to squeeze into my already bulging luggage and then lug around to every single hotel, coach and airport for the entire duration of the trip, it flies in the face of my simple and practical philosophy of “always travelling as light as possible”. Besides, with the “El Cheapo” stuff you’re not buying quality that’s going to last any decent amount of time!
So, I definitely don’t contribute to the slim profit-margins of the purveyors of fake consumer goods in Third World tourist traps… but souvenirs are another matter, but even there I chart a moderate course. From the first time I ventured overseas (thank you CC!), my ambitions went no further than picking up a few souvenirs or trinkets when I got the chance, something that I would in years hence associate positively with the exotic places I had visited. Occasionally I have bought a T-shirt or a cap perhaps (small items, easy to pack and carry) and of course, out of necessity a few little gifts for the people back home. For me, the odd souvenir is merely an auxiliary memento, something tangible to connect with the mass of photos I would invariably take in each place I visited.
FridgelandiaFridge magnet overload!
In the past I admit to having had a bit of a mania for collecting fridge magnets on my travels…yes the proverbial, ultra-kitschy humble fridge magnet! But eventually every available space on the magnetic part of our fridge got consumed, so rather than buying a bigger fridge (a real admission of fridge magnet OCD!), I simply switched to buying other small transportable items in the markets. Paintings, attachable plates and small, decorative wall satchels, easily filled the souvenir void (and eventually the lounge room walls too!)
Sometimes when on the lookout for a token souvenir or two on a trip, I did enjoy the ‘theatre’ of pitting my negotiating skills (such as they are!) against a seasoned vendor with “home ground” advantage in the markets…trying to haggle them down a few shekels did produce a momentary thrill in me. The money saved was absolutely inconsequential in the context of the relative luxury of the First World from which I come – I was simply engaging in the tourism game (when in Egypt, do as the Egyptians, etc). I’m can happily say that over the years of travelling I grew out of this self-indulgent urge to barter, that fleeting and insignificant élan I used to get has well and truly worn off.
Henpecked!On the trail of the fabulous “pecking hens” of…Cairo, Bogotá, Cancun, Zanzibar, Kolkata, etc.
Thirty years ago a friend brought me back a gift from Columbia or Venezuela (I forget which)…I really appreciated the object’s simplicity and understated charm. It was a plain wooden toy, a little haphazardly made, in the form of a bunch♠ of pecking hens attached by string to a sort of ping-pong bat. They were made simply by (no doubt peasant) hand, unadorned, without any pretensions to being anything like factory-finished and polished to perfection. Basic but guaranteed to capture the attention of a restless two-year-old for hours. I was so taken with the pecking hens I have in turn bought them myself as gifts for friends on subsequent tours where I have seen them (Egypt, Mexico, etc)◙.
Chico Senõr Potter Finding ‘Choló’ Potter but where is ‘Falsò’ Tintin?
Finding myself in Lima one time and jaded from having done all the main historic hotspots like the creepy monastery catacombs and Huaca Pucliana, I made for Miraflores (tourism central) and checked out the various souvenir markets. One that caught my attention was called the Indian Market (strange that it was called that, I thought the term ‘Indian’ wasn’t considered PC here any more!). The market’s stalls were packed with arts and crafts items and other merchandise like knitted “V for Vendetta” masks and knock-off T-shirts which appropriated and ‘Peruvianised’ symbols of Western popular culture (eg, ‘Cholo’ Potter working his juvenile wizardry in the Andes and that “All-Peruvian” dysfunctional family, the ‘Cholisimpsons’!).
Where is Tintin’s Inca prisoners T-shirt?Seeing these made me think of the Tintin character…on earlier overseas trips I had discovered Tintin T-shirts which related to a number of Herge’s cartoon books about the sandy-haired boy reporter’s adventures all over the world (in China I found Tintin in Tibet and Les Adventure de Tintin, and in Turkey, Tintin in Istanbul. I knew one of the stories in the famous series was set in Peru (Tintin and the Prisoners of the Sun), so I asked some of the vendors if they had the Tintin T-shirt for Peru…this mainly met with uncomprehending expressions of bewilderment…one guy however was curious enough to quiz me about this ‘mysterious’ Tintin person. After I explained how world-famous the fictional character was and showed the stall-holder what he looked like, the guy confidently predicted that if I come back in six months time he would have the Peru Tintin T-shirt in stock. I didn’t for a moment doubt that he probably would, considering we were in Peru! And I thought, I bet he wouldn’t be concerned by the trifling matter of copyright, it would be the least of things encumbering him in making it happen!
0nly a fiver! Not worth the effort to copy!Brother, can you knock me up a $100 note?
Lima is one of my favourite cities for counterfeiters. The first time I went into the city centre I was puzzled why there was so many backyard style, old-fashioned printing presses, especially concentrated it seemed in one particular street that runs off Plaza San Martin. It all made more sense when I found out some time later (when back home) that Lima was “the centre of the universe” when it comes to the meticulous painstaking, serious art of counterfeiting – particularly adept at churning out fake US$100 bills, known locally as a “Peruvian note”. Peru tourist tip stating the “bleeding obvious”: check your change very, very carefully!
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PostScript: Dodgy Juliaca – from brand piracy to smuggling
The epidemic proportions of counterfeiting is bad enough, then there’s out-and-out robbery! Standing in the woefully small and threadbare Aeropuerto Juliaca one day (southern Peru), I observed how many Peruvians, catching the domestic flight to Lima (and points further north), were checking in TV sets and computer hardware as luggage. On board one guy in the seat across the aisle from me had a new 33″ LED flat-screen (in its box) which he had brought with him as carry-on luggage…somehow he managed to jemmy it into the overhead compartment! He, like so many other Limeños, had made the 1,680 km round trip to Juliaca and back to buy consumer goods at a price you wouldn’t dream about getting them for in Lima.
The reason why Juliaca lures (long-distance) shoppers in droves is that the dusty, smoggy southern city is the hub of a prosperous smuggling trade…every year over a billion dollars worth of illicit goods including cocaine and other substances, gold, cigarettes, petrol, clothing, home and electronic appliances reaches Juliava predominantly via Lake Titicaca border with neighbouring Bolivia.
Simple unpretentious craftsmanship from the developing world
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✱ at least these bootleggers get credit for candidly exhibiting a sense of humour, a self-effacing one moreover
♠ a peep, a brood?
◙ a second Columbian second gift from my friend was similarly imbued with charmingly simple inventiveness – a Velcro cloth- clown with a weighted head allowing it to tumble head over apex down a sofa whilst clinging to the material
Our last day at Mérida was more or less entirely given over to exploring a local geological feature in the region that Yucatán is world-famous for – the cénote✳ (Pron: say-NO-tay). Cénotes are natural pits, large sinkholes in the ground formed when limestone bedrock on the surface collapses exposing groundwater underneath. The ones we visited on that day were subterranean, deep down below ground level in cave formations in sites sheltered by overhanging cliff-faces. The cénotes in Southern Mexico are very popular with divers and snorkellers and the more accessible ones usually require the payment of an entry fee (from about 50 to 100 Pesos each). To get into the water at many cénotes you need to make a steep descent on rickety old ladders, although not all cenotes are sunk deep into the earth’s surface…some other cénotes like the one we saw in the Bay of Pigs in Cuba are located just below the ground and just look like natural pools surrounded by worryingly jagged rocky ledges.
Guía José conducts a cartography class in the field!
It was a decent old drive to reach our first Yucatán cénote, it was located in a place called Tecoh, quite remote, dry-parched and harsh land, real sagebrush territory! Our sociable guide for the day, José, laid down a map of the Peninsula on the ground and explained a bit of the cénote story. The ancient Maya people apparently used the cénotes for both practical and religious purposes. In a landscape (Yucatán) with hardly any rivers to speak of and quite few lakes, the cénotes provided a much-needed source of fresh water. The Maya also used them, it is believed, for sacrificial offerings sometimes. José’s finger traced a circuitous line around much of the map, pointing out the location of cénotes which seemed to be dotted all over the place. After we had swam in the first cénote I asked José who clearly relished the whole cénote experience if he had swam in every cenote in the state. José chuckled and indicated that there was over 2,000 cénotes all over the Peninsula, and he might need another 20-30 years to reach that target!◊
The roof of something deep, dark & delightful…
Cénote Dive-and-Snorkle
The ladder going down to the water-level was a concentric spiralling contraption of wooden steps which were in far from mint condition (words like flimsy and haphazard come to mind), necessitating that we made sure we trod fairly cautiously on each rung. At the bottom was a pretty primitively constructed wooden platform with only a small recess in the wall of the cave where we crammed our clothes and bags into every possible crevice.
Being a hesitant auto-immerser in any deposit of water greater in scope than a domestic bathtub, an aquatic prevaricator who can hold his own and delay with the best of them, I coaxed and eased myself with glacial speed into the seemingly bottomless, blue-turquoise chasm. The water was a little cool at first but I soon accustomed to it. The water quality looked pristine despite it being in constant by visitors, I was attracted by the appearance of a myriad of tiny colourful fish visibly close to the surface. The pool looked very deep…José speculated at least forty metres deep. Above us small birds flitted around the cave, dipping and diving in and out of several holes in the roof that have formed over the millenniums. The light emanating from the holes through tufts of vegetation provided a kind of natural spotlight projecting on to the water, giving the entire cavern a magical glow.
The beautiful azure water!
After a half-hour or so’s frolicking in the cénote Jose coaxed us out with the promise of a visit to an even more spectacular cénote that was only a short distance away at Carretera tecoh-telchaquillo. To get to the second cénote site we had to travel on more bumpy dirt roads, passing through several gates taking us onto different land-holdings. As we approached each closed gate, two small chicos (boys) that José had brought on the trip, would alight on a signal from the driver and scamper up and open the gate for the mini-bus◘.
Aquanauts of an ancient cénote!
An idyllic natural swimming hole full of picturesque delights
Cénote número dos managed to meet the high expectations of Jose’s extravagant rhetoric, and then some! It was a wider, deeper cave and the pool had a considerably more expansive mass of water. When we got to the cliff overlooking the cénote there was already a quartet of scuba-divers equipped with underwater cameras foraging around below the surface (“Japanese tourists”, they looked like to me). The drop from the top to the base platform was longer than the first cénote but glad to say the ladder was in better state with one long, straight descent to a three-quarter way platform and then a shorter ladder to a lower platform where you enter the water. José as usual wasted no time in shedding his T-shirt and thongs and diving into the sparkling abyss, following swiftly by the two boys. With everyone else quickly into the water, I paused briefly to take a few shots of the vast cavern and its water-treading occupants, before doing likewise. The pool was many metres deep (hence the presence of the scuba-divers), so once in I treaded water for a bit before swimming out to the middle of the water where someone had helpfully anchored a red buoy to the bedrock floor.
With one arm securely clasping the floatation device I took a breather, and while I was there I was able to have a good look around the cavern roof above. Bright beams of light from the limestone roof illuminated the water surface like a spotlight and made it possible to make out the presence of a few hibernating Mexican bats suspended from various nooks and niches of the craggy rock. Our guide pointed out that the walls of the cave accommodated a host of other small creatures like iguanas and spiders. I liked how there were lots of long, long vines growing over the edge of the cliff and cascading down almost to the water✥…the vines looked sturdy but I wondered if they were strong enough for any daredevil adventurer brave (or stupid) enough to swing off them from the roof into the water?
A gate-opening chico & the word of Señor Jesuchristo
Community lunch with the family
The fee for the cénotes excursion included lunch in the casa of a local family that José took us to in nearby Pixyá. When we got there the niños were still hanging round so I wondered if this was José’s lugar. A number of the humble dwellings on that street had the identical message in Spanish painted on the front walls – a quote from Señor Jesuchristo (Ro. 6:23), something about paying fish when you die in order to ensure eternal life (my idiomatic interpretation anyway!).
A typical Yucatán Sunday spread!
As small livestock wandered around the yard inquisitively, we were guided to our seats at a long, outdoor table under a covered awning. José and the dama of the house brought out the food, in no time we were tucking into a delicious meal of meats (mainly pollo) and a smorgasbord of vegetable dishes. José produced jugs of a home-made lemon or limonáda drink to compliment the midday meal. The authentic, community “Sunday lunch” with the family capped off the day of subterranean cénote adventures to a tee!
Setting out again from Pixyá in José’s mini-bus, we bounced along the dusty dirt road towards Mérida, the further we went the better, and therefore the smoother, the road surface got. Back in town, having developed a craving for hot choc drinks after some early disappointing coffee experiences on the tour, I sought out a late afternoon caliente chocolate at the Italian Coffee Company (this seems to be a sizeable franchise business chain in different parts of Mexico, noticed they had several shops around where we stayed in Puebla).
Being our last night in Mérida, Hector took us to one of the liveliest and most crowded nightspots he knew in Mérida City Centre, Le Negrita Cantina (corner of Calles 49 and 62). We got a sensory dose of typically pulsating Mérida night-life here…wall-to-wall people seated cramped close together munching burritos (my non-appearing cerveza seemed to have been redirected back to the brewery – in a nearby town!) in an enclosed firetrap, wait-staff constantly circling round the tables with trays of margaritas, sangritas and micheladas looking for homes. Couldn’t really hear ourselves speak with the din going on, but the exciting buzz of the non-stop musical band and the dancing was great to experience!
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✳ the word derives from ts’onot, used by the low-land Yucatec Maya to refer to any location with accessible groundwater ◊ possibly José was being conservative with even that formidable number – other estimates (eg, www.aquaworld.com.mx) place the number of cénotes in the Yucatán Pen at in excess of 5,000
◘ the two small children doing the leg-work, I presumed, were José’s own niños
✥ some of the hanging vines in cénotes resemble the icicle-like stalactites often seen in caves
The earliest tales of traditional Middle Eastern folk tales, commonly subsumed under the umbrella title of One Thousand and One Nights or The Arabian Nights are thought to have have come from the Indian Sub-continent and Persia. The collection was built upon in piecemeal fashion in other Islamic lands throughout the Ottoman Empire, then at some point the compiled stories were translated into Arabic under the title Alf Layla wa-layla (or The Thousand Nights) [‘One Thousand and One Nights’, Wikipedia, http://en.m.wikipedia.org].
The Arabian tales reached Western audiences in book form and ultimately the (English language) cinema courtesy of the work of many western scholars over many years – of which British explorer and orientalist Sir Richard Burton was but one important contributor, not to overlook the work of Henry Torrens the first translator of the 1001 Nights from Arabic to English⊙.
Hollywood first visited the “Arabian Nights” world for subject matter early on during the silent era…including the related fascination with Rudolph Valentino’s The Sheik character, but it wasn’t until the 1940s that it became a regular feature of Hollywood cinema✳. By the early 1950s the popularity of the sub-genre had passed its high-water mark and pretty much tapered off after that point. Subsequently Hollywood has shown only sporadic interest in the sub-genre.
‘Sword of Ali Baba’ (1965): Robin Hoodesque Ali
Cinema’s (especially Hollywood’s) harvesting of the “1001 Nights” for script material has been restricted to a handful of the better known stories, predominantly Ali Baba and the Forty Thieves, Seven Voyages of Sinbad the Sailor, Aladdin’s Magic Lamp and the frame narrative of the storyteller Shahryar and Scheherazade. In typical eclectic Hollywood style, filmmakers have “cherry-picked”, incorporating several of the Arabian Nights story narratives into the same film…with the character of Ali Baba generally given the predictable “Robin Hood” treatment, depicted as a liberator redistributing wealth from the rich to the poor!
1940 British production values
1940, The Thief of Bagdad: The spark for a steady stream of American “Arabian Nights” films♤
The 1940 version of The Thief of Bagdad (made in the UK but distributed internationally by American company United Artists) seemed to be a catalyst for the “Arabian Sands of the Desert” film. Itself a remake the 1924 silent flick with the same title starring Douglas Fairbanks Snr, the 1940 Thief of Bagdad was British made but completed in California because of the disruption of Hitler’s War in Europe. The British Thief of Bagdad had high production values, a big budget and technical innovations…Technicolour and the first significant use of bluescreening in films; elaborate sets and costumes; high calibre acting and top-notch British filmmakers Alexander Korda and Michael Powell.
Low-budget Arabian adventure flicks with a cast of exotics
The box-office and critical success of The Thief of Bagdad provided an impetus to Hollywood studios to try to cash in on its success. Columbia eventually responded with its own Arabian A-picture 1001 Nights (1945) [‘A Thousand and One Nights/1001 Nights’ (1945), www.1000misspenthours.com], but the Forties through to the early Fifties saw a spate of mainly B-flicks on the Arabian Nights theme. In essence these were blatantly escapist romantic/adventures which rehashed Arabian stereotypes through mainstream American eyes (see PostScript). These Middle Eastern adventures provided a new (exotic) setting and new material for studios to feed a public perhaps feeling a bit jaded from a surfeit of Westerns (“cowboys and indians” films). They were also a fresh alternative to the string of World War 2 pictures and historical costume dramas being churned out of Hollywood.
‘Arabian Nights’ (1942)
Universal Pictures in particular took to the sub-genre with gusto, casting exotic types of players to headline these movies, eg, using and re-using the likes of Dominican Republic born Maria Montez, Mysore born Sabu and Vienna born (of Turkish and Czech Jewish origins) Turhen Bey in US Arabian B-pics, starting with Arabian Nights (1942). This three-piece ensemble was always accompanied by the distinctly un-exotic, “All-American hero” Jon Hall! Universal’s approach was usually to alternate their adventure locales – a standard Arabian Nights pic would typically be followed by a “South Seas island adventure” (almost invariably with the same “front four” and with titles such as White Savage and Cobra Woman) – just in case the punters were getting tired of the studio’s fixation on all those dudes in flowing robes and endless sand hills!
‘Sinbad the Sailor’ (1947): D Fairbanks Jnr doing his best “Errol Flynn impersonation” – Sinbad as romantic swashbuckler!
Many of the top male stars in Hollywood had a stab at playing the swarthy Arabian hero role during the sub-genre’s heyday…Ronald Colman in Kismet (1944); Douglas Fairbanks Jnr, following in his illustrious father’s swashbuckling footsteps in RKO’s Sinbad the Sailor (1947); Rock Hudson in The Golden Blade (1953); Jeff Chandler in Flame of Araby (1951); Tony Curtis (teaming up with Piper Laurie always outfitted as a harem girl) in The Prince who was a Thief (1951) and The Son of Ali Baba (1952). On the female lead side, Universal and United Artists gradually moved from using Dominican Montez to Canadian brunette Yvonne De Carlo as its main Arabian princess/heroine in films like The Desert Hawk (1950) and Fort Algiers (1953)◈.
Columbia’s foray into the “Arabian Adventureland” Columbia Pictures maintained a sporadic interest in the sub-genre. It made three adventure features over a 19 year span around the heroic character of Sinbad, each heavily imbued with fantasy elements. In this series comprising The 7th Voyage of Sinbad (1958), The Golden Voyage of Sinbad (1973) and Sinbad and the Eye of the Tiger(1977), Sinbad, played by three different actors, all have to confront and triumph over all manner of malevolent mythical creatures (dragons, gigantic birds, supernatural monsters, etc) with the odd, nefarious wizard or grand vizier thrown in along the hero’s journey.
“Arabian Nights” meets “Sword-and-Sandals”
By around 1960 sword-and-sandal epic films (sometimes called Peplum) films were in vogue especially in Europe (see article ‘Review of The Epic Film’, March 2015 blog). At the centre of the “Sword-and-Sandal” flick was the invincible strongman-hero who would typically flex his massive muscles and battle Greek, Persian, Egyptian, Assyrian or some other despot from a mythical land. In a merging of Classical and Arabian adventure motifs, studios would occasionally reassign their contracted stars of “Peplums” to “1001 Nights” pics…so in the 1961 Italian made Il Ladro Di Bagdad) bodybuilder Steve Reeves trades his Classical Greek white tunic for some robes, a turban and a scimitar!
X-rated ‘Arabian Nights’, the Pasolini Arabesque
Continental “Arabian Nights”
Enthusiasm for Arabian “desert and minaret” films was by no means restricted to Hollywood film sets and the US, nor did the sub-genre entirely disappear after the 1950s. Among the subsequent efforts there was The Conqueror of the Orient, a 1960 Italian adventure flick shot in the De Laurentiis Studios in Rome; Shéhérazade, a 1963 French production with Anna Karina; Captain Sindbad (1963) an independent production starring Guy William’s (better known as TV’s Zorro) was made in Munich. And of course there was the sexed-up, X-rated Continental version of The Arabian Nights (1974) by the always different, always polemical and confronting Italian director Pier Paolo Pasolini – the third in his trilogy of takes on the greats books of the world literary canon (following The Decameron and The Canterbury Tales).
Sub-continent Hindi, Bengali and Tamil “Arabian Nights”
Considering that the South Asian Sub-continent played a formative part as an early contributor to the compilation of Arabian folktales, it wouldn’t come as a surprise to learn that Indian cinema had embraced the Arabian Nights sub-genre. The Wadia brothers made Alibaba Aur 40 Chor in Hindi/Urdu in 1954 (remade in 1966 by Homi Wadia). Additional entries from India include Alibabavum 40 Thirudargalum (‘Alibaba and the Forty Thieves’), a 1956 Tamil-language “fantasy-swashbuckler” and a Bengali version of the Ali Baba story, Ali Baba and his Wonderful Lamp (1957).
Mr Magoo’s ‘1001 Arabian Nights’ animated feature
“1001 Nights”, longevity in animation
The one movie genre where the Arabian Nights movie has achieved real staying power and ongoing popularity has been in animated feature films. There has been numerous attempts at telling the Arabian tales through animation on the big screen. In the US, Columbia led the way with its 1959 1001 Arabian Nights, very loosely based on the Arab folktale of Aladdin, but essentially a vehicle for the popular, myopic TV cartoon character Mr Magoo. The big box-office inroads in Arabian Nights animations were made by those that came later… especially the Disney classic, eg, Aladdin (1992), which spawned successful sequels, Aladdin 2: The Return of Jafar (1994) and Aladdin and the King of Thieves (1996). Hanna-Barbera also produced its comic cartoon critters take on “The Book of the 1001 Nights” with Scooby-Doo! in Arabian Nights (1994, made-for-television). Another in the animated category was the Indian/US co-production, Sinbad: Beyond the Veil of Mists (2000).
Aladdin, he of the lamp with remarkable transformative powers, has been well served cinematically in animation features, viz a Soviet (Russian) fantasy version of Volshebnaya lampa Aladdina/Aladdin’s Magic Lamp in 1966; a French version, Aladin et la Lampe Merveilleuse/Aladdin and His Magic Lamp in 1970. There has even been a Japanese manga anime feature on the 1001 Nights theme, Doraemon: Nobita’s Dorarabian Nights (1991).
PostScript: Hollywood’s stereotypical representation of Middle Eastern Muslims
❝(Aladdin) from a faraway place, where the caravan camels roam, where they cut off your ear if they don’t like your face. It’s barbaric, but hey, it’s home.❞
~ opening song from the original theatrical release of Disney’s 1992 Aladdin (due to protests Disney subsequently modified the offending lyrics but kept the ‘barbaric’ reference✤)
The bulk of Hollywood movies like those above have resorted to over-simplified, usually demeaning, representations of Arabs and of the Arab world回. Lebanese-American academic Jack Shaheen pioneered research in this area, unearthing the extent to which Hollywood filmmakers manipulated the images and perpetuated orientalist stereotypes on the screen¤. So, in the typical 1001 Nights movie, we get totally formulaic story-lines which have become an established trope in the trade…the (often eponymous) hero suffers an injustice (imprisonment, exile, etc) at the hands of an evil cabal of usurper sheiks/caliphs (aided and abetted by greedy merchants who covet all the wealth and power for themselves). The princely hero recovers and ultimately overthrow the tyrant/regime, and in the process of course wins the beautiful, entrapped princess!
The Harem Girls’ pool shot in the 1942 film
The films are usually decorated with an obligatory harem of young, gorgeous and seemingly empty-headed girls lounging round doing nothing, occasionally belly-dancing or reclining in a pool (kind of your Arabian equivalent of the bikini girls in the 1960s beach movies). Universal’s Arabian Nights for example is full of sexy, seductive veiled dancers. Not exactly Islamic orthodoxy here! Sightings of the Taj Mahal in the 1942 film also illustrates how Hollywood mangles geography in the Arab World…the same goes for history, many plots involve ahistorical scenarios, eg, in the 2000 Arabian Nights miniseries the 8th century AD narrator recounts stories in which 17th-18th century muskets are in use [Arabian Nights (miniseries), Wikipedia, http://en.m.wiki.org; ‘Veils, Harems and Belly Dancers’, Reclaiming Identity: Dismantling Arab Stereotypes, (Arab American National Museum) www.arabstereotypes.org].The settings for the movies are equally formulaic – bustling bazaars with narrow, crowded alleys full of pickpockets, cardboard palaces that look like flimsy, fake Alhambras. Genies, flying carpets, robotic guards – a scene of frivolous adventure and fantasy. Outside of the city everything is amorphous desert, endless sand hills punctuated by outposts of tents and a caravan of camels❦ [‘Ancient Egypt and Desert Landscapes’, Reclaiming Identity: Dismantling Arab Stereotypes, (Arab American National Museum) www.arabstereotypes.org].
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⊙ the most popular of the 1001 Nights tales, and the most utilised by movie-makers – the Voyages of Sinbad, Aladdin and his lamp, Ali Baba and the 40 Thieves – were not part of the original collection of stories but were added by the French translator Antoine Galland in the 18th century
✳ I would hesitate to describe the “Arabian Nights” movie as a genre in itself, it would be more correct to call it a sub-genre, in the same way that road films and biopics are sub-genre films. Arabian Nights films are sub-genres, usually of the genre of Adventure or Adventure/Fantasy (occasionally Adventure/Comedy) ♤ Americans insist on the spelling ‘Bagdad’, rather than the traditional Anglo/Commonwealth preference for ‘Baghdad’…just as they prefer ‘Sinbad’ rather than ‘Sindbad’, as it is sometimes rendered
◈ movies such as Fort Algiers also cross-over into related-type territory, the North African Bedouin/French Foreign Legion desert film
✤ the Disney animated version makes a further sin of omission common to cinematic portrayals of the character Aladdin – making him a boy of Arab appearance. One of the few screen adaptations to heed the textual evidence which indicates that Aladdin is a Chinese boy is the 2000 Arabian Nights miniseries, casting a Chinese-American in the role
回 Hollywood has shown itself to be notorious at marginalising “the Other” on-screen, note the very strong parallels between its characterisations of Arabs/Muslims and of Native American ‘Indians’ and Mexicans ¤ Shaheen spent decades scrutinising not just the Arabian Nights movies but all Hollywood films and television that dealt with Arabs and Muslims, concluding that Hollywood depicted Arabs in overwhelmingly negative terms – as bandits, as duplicitous, naive, rapacious and malevolent people of a savage, nomadic race (and after 9/11 in particular, as one-dimensional terrorists) [JG Shaheen, Reel Bad Arabs: How Hollywood Vilified a People (2001)]
❦ Hollywood productions reinforce the European orientalist construct, as identified by Palestinian scholar Edward Said, reducing the Orient to no more than “a place of romance, exotic beings, haunting memories and landscapes, remarkable experiences”
Carlsbad Caverns, NM.
Mexican F-tailed Bat-cave, Carlsbad
B-27 Liberator flying over Carlsbad National Park
1943: Army Bat Bomb test goes haywire!
Dugway Proving Grounds, Utah
Dentist-inventor Adams was extremely disappointed when the Military pulled the plug on the project. Adams maintained that what happened with the atomic devastation of Hiroshima and Nagasaki could have been avoided if the US had stuck with his bat-delivered bombings: (would have caused) “thousands of fires breaking out simultaneously … Japan could have been devastated, yet with small loss of life” [‘Top Secret WWII Bat and Bird Bomber Program’, 6-Dec-2006, www.historynet.com].BF Skinner’s pigeons of war
Aquanauts of an ancient cénote!
Aladdin, he of the lamp with remarkable transformative powers, has been well served cinematically in animation features, viz a Soviet (Russian) fantasy version of Volshebnaya lampa Aladdina/Aladdin’s Magic Lamp in 1966; a French version, Aladin et la Lampe Merveilleuse/Aladdin and His Magic Lamp in 1970. There has even been a Japanese manga anime feature on the 1001 Nights theme, Doraemon: Nobita’s Dorarabian Nights (1991).
