Robert Stevenson and Geoffrey Barkas' King Solomon's Mines is as splendid an adventure picture as anything produced by Hollywood during the 1930s. Based on H. Rider Haggard's novel of the same name, the film follows a group of Europeans led by the "great white hunter" Allan Quatermain as they search for the fabled mines of Solomon in the depths of darkest Africa. As with any film by Westerners set in Africa made during this stretch of the 20th century, the film is ripe with racist stereotypes concerning deformed witch doctors, power-mad tribal chiefs, and ignorant "savages." But there is one big difference between this film and its compatriots: Paul Robeson. As Umbopa, the native guide who eventually reveals himself to be the true heir to the throne of the tribe that owns the mines, Robeson steals the show from his white co-stars. He manages to bring sincere dignity to what could have otherwise been a very offensive role. When Umbopa reveals himself as the true king, we truly believe it. It's worth pointing out that King Solomon's Mines side-tracks the white characters for much of its second half. Once Quatermain and his party reach the mines, it becomes Umbopa's story. His efforts to reclaim his throne become the narrative's main focus. The white characters certainly help. After all, they help trick the tribesmen into believing that Umbopa has great magical powers. And they valiantly fight in the battle when the usurper king attacks Umbopa with an army. But Umbopa is the hero. Notice how the film ends with Robeson giving a kind of benediction as the white characters are escorted from his kingdom by a company of 100 troops. So King Solomon's Mines is both a wonderful entertainment and a surprisingly progressive piece of filmmaking.
8/10
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