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...Jamil M. Baroody, the brooding, hot-tempered Lebanese who was Saudi Arabia's unofficial observer at the conference, did not deny that slavery existed in Arabia. "Slaves," he snorted. "What are slaves? It is better to call them servants or stewards. They have a good life. They call their master 'Uncle.'" But he insisted that the proposal that slave ships be subject to seizure was an "imperialist device"-a typical trick of Western colonialism. Responding to the words "imperialism" and "colonialism" like fire horses to the bell, Asian and African nations lined up alongside Saudi Arabia...

Author: /time Magazine | Title: THE UNITED NATIONS: Of Human Bondage | 9/10/1956 | See Source »

...fiance. One anticipates she will be carried off to the tribe and married by force. She is kidnapped but a blow across the face convinces the Arab that she doesn't like fooling, and his prize goes back to her white engineer. With a price on his head Jamil returns to Cairo and just as Diana is about to become leashed forever to her beloved bridge-builder, she hears one of Jamil's Arab love songs which are pretty sour. She can't resist, and so she's off. The picture's like that...

Author: NO WRITER ATTRIBUTED | Title: The Crimson Playgoer | 7/6/1933 | See Source »

...Barbarian (M e t r o-Goldwyn- Mayer) contains a personage whose type used to be almost as important in the cinema as the cowboy whom he helped to supplant. He is a sheik wearing a romantic turban, bedsheets and a polite but hungry leer. His name is Jamil (Ramon Novarro) and he is first seen functioning, for reasons of his own, as a guide to tourists in a Cairo hotel. When the proud but passionate fiancee (Myrna Loy) of a swagger young Englishman arrives to see the sights, it is not hard to guess how Jamil will show them...

Author: /time Magazine | Title: Cinema: The New Pictures: May 22, 1933 | 5/22/1933 | See Source »

Efforts to dress up the theme-by such touches as this or by having Jamil take himself a shade less seriously than the old sheiks used to do-help, not to modernize the picture, but to give it a certain wistful charm. The memory of Rudolph Valentino is still green in Hollywood. In The Sheik (1921) he coined a U. S. epithet and a mint of money for Paramount. The Barbarian is more than a belated imitation; like some of the songs which Jamil sings it is a plaintive serenade, begging audiences not to forget an old favorite. Most inevitable...

Author: /time Magazine | Title: Cinema: The New Pictures: May 22, 1933 | 5/22/1933 | See Source »

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