
An impoverished former theater owner and his disabled daughter survive in destitution until they meet a clever young pickpocket. The thief falls for the daughter, while the father sees an opportunity to confront the unscrupulous new theater proprietor who drove him out years earlier, setting the stage for romance and revenge.
Does Kismet have end credit scenes?
No!
Kismet does not have end credit scenes. You can leave when the credits roll.
See current US streaming, rental, and purchase options for Kismet (1943) via JustWatch.
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What alias does Hafiz use during the day while wandering Baghdad?
Read the complete plot summary of Kismet, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
In a Baghdad bathed in a glow of old-world magic and myth, the tale unfolds with a double life at its center. Hafiz is a middle-aged beggar and street magician who moves through the city as the self-styled King of Beggars by day and the elusive Prince of Hassir by night. His performances charm some and irritate others, but one encounter changes everything: he meets Lady Jamilla, the striking queen of the Grand Vizier’s harem. She recognizes his act as a clever illusion, yet she is drawn to him by the spark of danger and mystery that trails his every gesture.
Meanwhile, the young Caliph, who shrouds himself in disguise as the “son of the Royal Gardener,” wanders the streets to learn the truth about his subjects. His curiosity is frowned upon by his trusted adviser, Agha, but the Caliph’s journey leads him to Marsinah, Hafiz’s daughter, a meeting that kindles a quiet, earnest love. The Caliph’s path then crosses with the man who calls himself the Prince of Hassir, and he watches Hafiz’s tricks with a mix of amusement and awe, especially the moment when a knife appears from a handkerchief in Hafiz’s deft hands.
To protect Marsinah and to shape a future steeped in fairy-tale grandeur, Hafiz builds high walls around his home. He hopes to shelter his daughter from the harshness of real politics by raising her on stories of royalty and destiny. Marsinah’s nurse, Karsha, sees through Hafiz’s grandiose promises and often growls a sharp “Bah!” when she reads the risk of his dreams. Yet Marsinah confides in her suitor about a prophecy she’s heard—that a prince will someday tear down those very walls and make a life worth living. The Caliph, hearing of this, returns to his palace with plans to ask Marsinah for her hand, setting the stage for a collision between dream and duty.
The plot thickens when Hafiz witnesses a failed assassination attempt on the Caliph, set in motion by an agent of the Grand Vizier. The Vizier destroys the would-be killer, and the Caliph grows suspicious that the Vizier may be behind the plot against him. Despite the Caliph’s awareness that he is still unmarried, Hafiz sees a strategic opportunity: the Vizier could be a suitable match for his daughter, and perhaps a path to real power. Disguising himself with borrowed finery, Hafiz infiltrates the Vizier’s world as the Prince of Hassir and offers Marsinah’s hand in marriage. Jamilla, caught in a private moment with Hafiz, agrees to the arrangement only after recognizing the ruse as a step toward a larger plan. Marsinah, meanwhile, faces the bitter truth that her dreams of love might become a political alliance in disguise.
A turn of fate brings Hafiz into trouble when he is arrested for the theft of those borrowed clothes. Facing a harsh sentence of having his hands cut off, Hafiz negotiates with the Vizier, leveraging the possibility of Marsinah’s ascent to the Grand Vizier’s wife to gain mercy. The bargain hinges on a dangerous performance: Hafiz promises to demonstrate a magic trick—drawing a knife from a handkerchief—that could be used to strike down the Caliph. The plan unfolds in a public audience where the Caliph, already intent on justice, senses the web of deception closing in around Hafiz. The knife trick is executed with precision, but the Caliph sidesteps the blade, exposing Hafiz’s plan and turning the Vizier’s position into a precarious stake in a larger power play.
In the ensuing chaos, the Vizier escapes and orders Marsinah’s death. Hafiz races to rescue his daughter as palace guards converge, and in a climactic confrontation within the harem, Hafiz faces the Vizier in a duel that ends with the Vizier’s death and the swift arrival of order to the palace. Hafiz is seized, and his fate seems sealed by the very tricks he once used to charm and protect.
The Caliph, acting with a sense of dramatic mercy, decides a different kind of fate for Hafiz: he designates Hafiz as the new Prince of Hassir—a symbolic exile that sends him away from Baghdad at sunset. Yet this new status carries a poignant request: the Caliph, who has learned Hafiz’s truth and Marsinah’s heart, agrees to tear down the walls Hafiz built so long ago, allowing the lovers to imagine a future free from barriers. In a final reversal of roles, Marsinah learns that the gardener’s son she loved is the Caliph himself, and the two pledge themselves to one another as Jamilla stands by Hafiz’s side. Together, they leave Baghdad for Hassir, while Hafiz watches, with a mix of sorrow and hope, the realization of his daughter’s happiness.
The story closes on a note of bittersweet kinship between dream and reality. Hafiz, now truly the Prince of Hassir in exile, finds a kind of peace in knowing that Marsinah’s future with the Caliph will be a life built on truth rather than walls. The city’s glittering spectacle fades into the distance as Jamilla accompanies Hafiz and Marsinah toward a new horizon, where love, power, and myth intertwine, and where the old city’s magic can still illuminate a genuine destiny for those brave enough to chase it.

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