Das Weib des Pharao

Ernst Lubitsch's final German film was a conscious effort to appeal to American producers. He had made several large-scale historical, romantic tragedies, but he ended with his best of them with The Loves of Pharaoh. I still wouldn't quite call it good, though. Perhaps its part of the incomplete nature of the film, missing about a fifth of the original film due to the very early cutting of the film in different territories that left a complete print impossible to assemble, but my problems don't seem to align with the missing footage (filled out with explanatory intertitles and a few production stills like the restored version of Erich von Stroheim's Greed). Still, it's a large scale production that mostly manages to accomplish its character-based goals. However, it's beset by Lubitsch's inability to find ways to provide depth to characters in the silent film medium once again, holding it back.

The Egyptian pharaoh Amenes (Emil Jannings) receives the king of Ethiopia Samlak (Paul Wegener) who brings along his daughter Makeda (Lyda Salmonova) to marry Amenes. On their way to the Egyptian capitol, Makeda's Greek slave girl Theonis (Dagny Servaes) comes across Ramphis (Harry Liedtke), the son of pharaoh's architect Sothis (Albert Bassermann) who steals her away and takes her home with him. This angers Makeda and, by extension, Samlak so that when they meet Amenes they bring it up, extracting a vague promise from Amenes to pursue the thief, though he obviously has no intention of following through. He's more concerned with the large gift of treasure that Samlak offers Amenes in an effort to forge an alliance between the two nations, only paying attention to Makeda because of the jewels around her neck.

One of the early issues with the film is how Theonis ends up in the grasp of Amenes. The pharaoh is building a great treasury (it's the name for his final resting place) in the form of a sphinx, and he has forbidden anyone from getting near it, including himself. So, Ramphis decides that, in the middle of the night, to impress Theonis, he's going to take her to the treasury on a lark where they get captured by pharaoh's troops. This is where the thinness of character begins to bite the film. I think it was a single intertitle that said that Sothis was the architect of the treasury at this point (it becomes more explicit and important later), so the film implies a lot of what goes into Ramphis' decision, so much that it feels like it comes out of nowhere and is completely reckless in a way that doesn't really seem to make a lot of sense. This section is where it seems most of the missing footage would be, but it's more about the introduction of Theonis to the Sothis household than Ramphis' doomed excursion.

The commotion brings Theonis to Amenes' attention, and he's instantly smitten with her. This is the other side of the early part of the film that feels thin. It's an instant attraction, more in alignment with lust than love, and the entire rest of the film relies on it. I mean, I get it, but I don't think the film puts in the work to make the emotion from Amenes feel real. In order to appeal to her, Amenes offers Ramphis a pardon that manifests as a lifetime of hard labor in the quarry. So, we have a slave girl attached to a powerful man she doesn't love, a rival nation angered at the disrespect they experience when they find out that Amenes won't give up Theonis, and a young man being crushed by the powerful man. The actual moving of pieces to get them into this place is a bit weaker than it could have been, but it largely works in some rudimentary ways.

It's about the halfway point where the film starts cranking along in a more efficient fashion, taking the early pieces that feel underdeveloped and making the most of them. Lubitsch set out to make an epic to prove to producers that he could work on Hollywood scales, and it's where the movie shines. There's a large battle as Ethiopia invades that's handled really well. It's not just for show either, providing a plot twist that the film follows through on, changing dynamics late in the game in rather drastic ways. It seems like, for a moment, that we're getting some sort of storybook ending where all is well and it's a weird feeling, but there's tragedy to be had hinging on the surprise return of a thought-dead character. These historical movies from Lubitsch really do embrace the tragedy (my favorite final moment being the title character's head in a basket in Madame DuBarry), and he's only ever hampered by his weakness with characters in the silent film space.

I don't think he quite overcomes the inherent weaknesses of character, but Lubitsch ends his German period with his strongest historical film. I still think he's demonstrated a more natural strength in silly, witty comedies than this heavier stuff, but he's also proven to be a competent filmmaker in a variety of genres, if he hasn't really demonstrated a strong command of the silent film form that someone like Fritz Lang had done in the same environment. I look forward to him finishing out the silent period working in Hollywood and making the transition to sound. If anyone needed the transition to sound most, it probably was Ernst Lubitsch.