Arabesque Page #7

Synopsis: Professor David Pollock is an expert in ancient Arabic hieroglyphics. A Middle Eastern Prime Minister convinces Pollock to infiltrate the organization of a man named Beshraavi, who is involved in a plot against the Prime Minister. The nature of the plot is believed to be found in a hieroglyphic code. Beshraavi's mistress, Yasmin Azir is a mystery intertwined in the plot. Pollock needs her help, but when she repeatedly seems to double cross him in one escapade after another, he can't decide on whose side she is working. Ultimately working together, Pollock and Yasmin decipher the plot and set out to stop an assassination of the Prime Minister.
Director(s): Stanley Donen
Production: MCA Universal Home Video
  Won 1 BAFTA Film Award. Another 1 win & 4 nominations.
 
IMDB:
6.6
Rotten Tomatoes:
64%
UNRATED
Year:
1966
105 min
377 Views


Right on back.

Fine, fine. Good.

Plenty of room, mate.

That's good.

Thanks, mate.

This is your first

visit to England, Mr. Prime Minister.

What are your

first impressions?

We could use some of your

English rain in our dry country.

In our country,

there's a great deal of oil and very little water.

A highly inflammable situation.

All right, Hemsley.

Water remains

our most serious problem.

To paraphrase

Marie Antoinette:

I can hardly say of my people,

"Let them drink oil."

May I see

your press card, please, sir?

Diners Club?

I'm afraid I don't recognize you.

We're doing a piece

on the Arabic cuisine.

I'm sorry, sir. It's not on my list.

Get out of the way.

I'm sorry, sir.

Do you care to comment...

on the treaty

you intend signing tomorrow?

Listen!

Let us through! That man's about to be killed!

I hardly think so, sir.

This is England.

I have studied the terms

of the treaty most carefully,

and I could not,

in good conscience-

They have fought too long

and hard-

Please!

Let us through, please!

What is happening?

Mr. Pollock?

I'm sorry, sir. Are you all right?

It appears that I am.

What happened?

I was a little late

deciphering the message. That's what.

Here. Let me help you up.

Thank you.

Mr. Pollock was brilliant.

He deserves a medal.

Who is responsible for this?

Do you know?

Yes, sir. Nejim Beshraavi.

Beshr- Mr. Pollock,

I must speak with you.

Excuse me.

Excuse me. Excuse me. Come, Mr. Prime Minister.

The car is waiting. We must hurry.

I must speak with Mr. Pollock.

There's no time.

We don't know who else here might be involved.

I must speak

to Mr. Pollock!

Come on.

They did it.

After all that, they did it. We just stood there.

Where are we going?

We have to find Jena.

Did I understand you to say-

That wasn't Jena.

It sounded like you said-

I tell you, it wasn't!

It looked

very much like him, but it wasn't Jena.

It was Hassan Jena.

I know him.

Oh!

He knows me.

I've spoken to him many times.

He came to Oxford to see me.

Jena's never set foot

in England before today.

That's what

he wanted people to think, but he was here.

He's the one

who sent me to Beshraavi in the first place.

That man?

The one who was shot?

Yes. Now do you believe me?

- Why didn't you tell me?

- I never knew who you were.

That's why he looked

so frightened.

Nejim hired him

to impersonate Jena,

only he neglected to mention

that part of his job was to be murdered.

We have to find

the real Jena. Come on.

You expect me to believe

that nonsense?

- What proof do you have?

- He didn't recognize me.

But- Wait-

Why should he recognize you?

Yasmin, are you trying

to tell me something?

I am a spy.

Hey, wait!

You can prove that statement,

I suppose?

Do you think we carry

calling cards?

Then why didn't you tell me?

You wouldn't have believed me.

Where are we going?

I want to see

where it happened.

Where what happened?

Did you record the Prime Minister's arrival

on tape? Yes.

Run it for me.

The Prime Minister's life may depend on it.

You're a bit late. He's already been shot.

Do as I say.

Is that tape

ready to roll yet?

It's all set.

Put it up on the monitors.

Which one is that?

The real one. It has to be.

There was no way

to get to him before this.

Yes, it's Jena.

Those are

his favorite slippers.

Can you see what's happening

inside the car?

The windows are too dark.

Hold that.

Can you freeze it?

Look, the shoes

are different.

He's not wearing

slippers anymore.

That's where it happened:

in the car.

We've got

to find it.

She's a government spy.

Look.

Come on.

Give me a hand, will you?

You seriously think-

What else would they have done? Left him in the airport?

It's the treaty, isn't it?

If it had gone through,

Nejim would have been ruined.

Jena was going to sign it?

That's why they needed a substitute:

to denounce

the treaty officially before the assassination.

I have

a vivid imagination.

I must say,

I never saw myself unpacking a prime minister.

Our life expectancy

may be nil,

but I'd like you to know

this has been...

a very real, warm,

human experience.

It's uncanny.

What is it?

Where am-

You're among friends, sir.

At least

for the next 30 seconds.

Are you all right?

I think so.

Is that you, Miss Azir?

Let's get him out.

Ploy number one.

We've got him, sir.

It's about time

you did something right. Well, get him out!

Hey, you two!

Lend a hand here. And you!

Undo these chains.

Put it down!

Open it, Sloane.

Imbecile. Must you mismanage everything?

Down! Flat!

Now!

Come on!

Run for it!

Wait!

What do you want?

We, uh, uh-

You can't ride

in that skirt.

Hup!

Are you all right, sir?

Yes, thank you.

That way!

I don't see what he can do now.

He'll think of something.

I knew you couldn't

keep a good man down.

There!

Get them, Sloane!

This time get them!

David!

Are you all right?

No. I'm ashamed of myself.

I ride better than that.

Come on!

This side!

Those stairs must

lead somewhere.

Are you sure?

If they don't,

watch out for the last one.

Here comes

old Eagle-Eye.

This is like a recurring

dream I used to have.

How did it end?

Don't ask.

Here it goes.

Don't, David. Please, don't. You'll be a sitting duck.

How come my recurring dream

never ended this way?

I don't know.

Mine always did.

I guess I just travel

in better dreams.

Do I have your...solemn pledge

that you'll never spy again?

Only on you.

Oh, swell.

Hey!

You clumsy idiot!

Oh, it's you, Mr. Pollock.

Oh, hello, Fanshaw.

David...

you can swim, can't you?

Sorry.

Not a stroke.

David!

Here we are again,

taking a bath together.

David, you lied to me!

Sure. It was my turn.

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Julian Mitchell

Charles Julian Humphrey Mitchell FRSL (born 1 May 1935) is an English playwright, screenwriter and occasional novelist. He is best known as the writer of the play and film Another Country, and as a screenwriter for TV, producing many original plays and series episodes, including at least ten for Inspector Morse. Mitchell was born in Epping, Essex, and educated at Winchester College, where he won the English Verse and Duncan Reading Prizes. He did his national service in submarines 1953-55 as a Sub Lt RNVR. He then went to Wadham College, Oxford and received a BA with first class honours in 1958. This was followed by a period as a Harkness Fellow in the USA (1959–61). He earned an M.A. in 1962 at St. Antony's College, Oxford. Since 1962 he has been a freelance writer. In the late 1960s, Mitchell co-wrote the teleplay Arthur (Or the Decline and Fall of the British Empire) with Ray Davies of The Kinks. It was never produced, though it gave rise to the band's concept album. He recently recalled the aborted project: "Arthur had a most unhappy history. It was originally meant to be a ... sort of rock opera, and we got as far as casting (excellent director and actors) and finding locations and were about to go when the producer went to a production meeting without a proper budget, tried to flannel his way through it, was immediately sussed and the production pulled. I have never been able to forgive the man." Mitchell has written nine produced plays, including Another Country, which won the SWET (now Olivier) Award for best play of the year (1981), and After Aida (1985), a play-with-music about composer Giuseppe Verdi. Mitchell has screenplay credits for five feature films. The earliest was Arabesque (1966), which was directed by Stanley Donen. Another Country (1984) is based on Mitchell's own play, and directed by Marek Kanievska. Vincent & Theo (1990) is a biographical film about the famed painted Vincent van Gogh and his brother Theo, and was directed by Robert Altman. August (1996) was directed and starred Anthony Hopkins, and was adapted from Anton Chekhov's classic play Uncle Vanya. Wilde (1997) is based on the life of Oscar Wilde, and was directed by Brian Gilbert. In 2007 he wrote the BBC4 drama Consenting Adults about Sir John Wolfenden and his celebrated 1957 report. more…

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Submitted on August 05, 2018

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