The Jewel of the Nile

“The Jewel of the Nile,” released in 1985, is more absurdity in the same vein of “Romancing the Stone,” which was actually a funny action comedy inspired by the Indiana Jones epics. We put on the film expecting absolutely nothing of substance, and that’s exactly what we get, given with high style. The movie brings back three main cast members – Michael Douglas, Kathleen Turner, and Danny DeVito – and actually adds a fourth cast member with Avner Eisenberg as a holy man of nice insanity.

Roger Ebert noted in his review, “Movie-industry gossip has it that Kathleen Turner didn’t particularly want to make this sequel, and that even Michael Douglas, who produces as well as stars, thought it might be best to quit while he was ahead. But the original contract specified a sequel, and it’s to everybody’s credit that “The Jewel of the Nile” is an ambitious and elaborate attempt to repeat the success of the first movie; it’s not just a ripoff.”

In hindsight, it lacks some of the enjoyment of the last film, especially the development of the romance between Douglas and Turner. Here, as the movie starts, they’re old friends, relaxing in Cannes and reminiscing about the good times they had in South America. Maybe feeling that there is nowhere to go with this mainly stable relationship, the movie throws them almost immediately into Middle East scheming.

A ridiculously wealthy Arab, played by Spiros Focas, invites Turner to travel with him to his homeland, for reasons as vague as they are fascinating. Ebert said, “Douglas temporarily drops out; after a manufactured spat, he decides he would rather sail his boat through the Mediterranean.” Turner is quickly involved in danger as the Arab reveals plans to seize the role of a legendary holy man, and Douglas becomes a friend of the great spiritual leader, who is known as the Jewel of the Nile. (Ebert noted, “Danny DeVito is some what lost in all of this, and left for long stretches of the film to wander through the desert and suffer meaningless tortures in lieu of a clearly defined role.”)

Ebert continued, ““The Jewel of the Nile” expends amazing resources on some of its scenes, including a gigantic spiritual meeting in the desert that is staged as a cross between a rock concert and the Nuremberg Rally.” What makes the Middle Eastern material work, however, is the performance by Eisenberg, who is a real comic discovery. He has some of the same sarcastic innocence we saw in Harold Ramis’ character in “Ghostbusters” – he’s very wise and very innocent. Ebert pointed out, “Some of his best moments involve his bewildering cross-cultural dialogue: He speaks in vast metaphysical concepts, which are unexpectedly interrupted with 1985 slang and pop sociology.”

Meanwhile, Douglas and Turner have fun with two of the largest roles in recent memory. They fight, they make up, they joke at the look of disaster. Ebert noted, “Just as Woody Allen and Diane Keaton always seem to be on the same wavelength in their comic dialogues, so do Douglas and Turner, in their own way, make an ideally matched comedy team.” It is evident that they like each other and are having fun during the constant ridiculous situations in the movie, and their chemistry is sometimes more entertaining than the devices of the plot.

Ebert admitted, “My favorite moment between them comes as they hang by their hands over a rat pit, while acid gnaws away at the ropes that suspend them above certain doom. Sure, this scene owes something to “Raiders of the Lost Ark.” But what’s new about it this time is the dialogue – the way they break down and confess that they love each other, and make marriage plans as death inexorably approaches. And then, when DeVito appears and might possibly save them, there is some business with a ladder that is followed by dialogue so perfectly timed that I laughed not so much in amusement as in delight at how well the mechanisms of the scene fell together.”

For all of its enjoyment, “The Jewel of the Nile” is a minor and unimportant entertainment. How could it be otherwise? Even though it is not the same of “Romancing the Stone.” That’s not a surprise. For what it is, however, it’s fun. Ebert ended his review by saying, “And for what it’s worth, Douglas and Turner could keep on working in this tradition forever, giving us a 1980s version of the Bing Crosby and Bob Hope “Road” pictures. I guess they don’t want to, though, and perhaps that’s just as well. What I hope is that a casting director sees Avner Eisenberg for what he is: the most intriguing comedy discovery in a long time.”

Yes, this is not as good as the first movie, seeing how it might be a disappointment when revealed that “The Jewel of the Nile” is a person and not an actual jewel, but I still thought it was good. This is still at a time when Zemeckis was at his prime and I think everyone should check this one out. I don’t think everyone will like it as much as the first movie, but that is to be expected with certain sequels. You will still have fun when watching it, I can say that much.

Next week, I will look at another classic film as we continue “Michael Douglas Month.”