Land of the Pharaohs

"Land of the Pharaohs" is on many Guilty Pleasure lists and deservedly so. You know it is only for entertainment purposes. Joan Collins as well as the character she portrays are over the top campy and not to be taken seriously. Her cruel, selfish Queen is utterly devoid of any redeeming qualities, utterly ruthless and wicked- in other words, delicious fun to watch.

Most of the acting is high-quality, especially the legendary Jack Hawkins who is magnificent as usual although Yul Brynner or Charleton Heston probably would have fit the role better.

Beautifully filmed with a very expensive look it is a movie with an obviously lavish budget. Despite the extravagance, I can fully understand why it didn't do well at the box-office. Focused on death and monuments it can be seen as somewhat depressing and has a grim, doomed aspect overall amid the splendor.

Unless maybe written by Edgar Allan Poe, how is a film about a tomb going to attract a great public to the theater? The answer is: it didn't. It is not an adventure about getting to a tomb such as Indiana Jones-type films, it is basically only a film about a tomb itself.

Death, murder, slavery, a tomb. If not handled just right these subjects can't succeed alone. Here they do, but just barely.

Undoubtedly, "Land of the Pharaohs" is likely overlooked when film buffs consider what constitutes Howard Hawks's best work. It's rather giggle inducing when one thinks about the utter miscasting of most of the actors, and the utter silliness of so many lines. But that doesn't necessarily mean that it's a bad film. On the contrary, it's actually exquisitely made, on an obviously very impressive budget. Hawks and company work with literally thousands of extras in some scenes, and the production design and CinemaScope photography are among the best one will see for this genre.

Jack Hawkins plays an Egyptian pharaoh named Khufu, who wants to be extremely prepared for his "second" life. He desires the perfect pyramid to be built to house his body and his plethora of treasures obtained from war. He learns that one of his current prisoners, Vashtar (James Robertson Justice), is an experienced architect, and indeed Vashtar comes up with some ingenious ideas for crafting an impregnable fortress. Meanwhile, Khufu obtains himself wife # 2, a young princess named Nellifer (Joan Collins). And she's a greedy and conniving person who stops at nothing to get what she wants.

"Land of the Pharaohs" may be a challenge for some people to take seriously, but technically it really is well made, and it's consistently entertaining. Also in the cast are Dewey Martin as Vashtars' son Senta, Alexis Minotis as Khufu's loyal high priest Hamar, Sydney Chaplin as the traitorous Treneh, and James Hayter as Vashtars' friend Mikka. These people all do the very best that they can, but it's the ravishing young Collins who tends to steal the show - and whom the audience is likely to remember the most.

Among the heaviest assets that this can boast are Dimitri Tiomkins' rousing music score, the cinematography by Lee Garmes & Russell Harlan, the art direction by Alexandre Trauner. and the various costumes (especially those worn by Collins). Viewers may also get a big kick out of the fairly grim twist ending.

Seven out of 10.

After years of war victories and accumulated wealth circa 2600 BC, Pharaoh Khufu (Jack Hawkins) becomes obsessed with building an impenetrable tomb for his body & riches, etc. Khufu turns to the brilliant architect and newly acquired slave, Vashtar (James Robertson Justice), to build the Great Pyramid, aka the Pyramid of Cheops or Giza. Joan Collins in on hand as Nellifer, Dewey Martin plays Vashtar's son and Alexis Minotis the high priest of Egypt.

"Land of the Pharaohs" (1955) is a sword & sandal epic that doesn't overstay its welcome at well under 2 hours. It was director Howard Hawk's first box office failure and so he took four years off from filmmaking to tour Europe before returning with the hit Western "Rio Bravo" (1959). It has since become a cult film and Martin Scorsese admitted that it is one of his favorites.

The subject is fascinating. The Pyramid of Khufu is the oldest of the Seven Wonders of the Ancient World and the only one to remain relatively intact. It is estimated to have taken almost three decades to build. There are several theories of its planning & construction and the movie brings this to life for the viewer. The Egyptian government supplied 3000-10,000 extras for the 50-plus day shoot, half of them soldiers. While Jack Hawkins and the actor who plays Vashtar look decidedly European as opposed to anyone from the ancient Egypt region, producers wisely darkened Joan's skin and her potential lover looks serviceably Egyptian.

Although critics decry the subplot in the second half concerning an assassination conspiracy, there's plenty to enjoy in this lush spectacle: cowards thrown to crocodiles, the curious beliefs behind building such a unique colossal structure, the obsession & perseverance it took to see it through, thousands of extras, real vessels in the river, authentic locations, recreations of hauling the 2.5 ton stones, the Pharaoh taking on a bull, death traps, athletic dancing, Joan's youthful beauty, a quality sword fight to the death, the tragic close and Dimitri Tiomkin's great score.

Lastly, the flick inspires one to look up the actual pyramid, its history and videos of its exterior and innards. It might even inspire you to see it firsthand.

The film runs 1 hour, 46 minutes, and was shot in Egypt with studio stuff done in Rome.

GRADE: B.

It's hard to know how to rate movies like this because the genre is so inherently cheesy. In the grand scheme of all cinema, it probably should only get a 6 out of 10, but within the "swords and sandals" genre, it surely rates a 10! There are many classic themes here: an aging man's wish to be remembered through a great monument, a slave's desire to win freedom for his people, an ambitious woman's lust for power at any cost. Of course, everything is overacted and obvious as hell, but the plot stays focused, unrolling inexorably to it's horror-movie ending. This is Saturday afternoon escapism at its best.

Land of the Pharaohs is a fascinating, sometimes morbid glimpse into the Hollywoodized past. Unlike many epics, the film forsakes the usual Judeo-Christian perspective in favor of a completely pagan outlook. That, combined with some striking scenes involving the building of Khufu's pyramid, makes this worthwhile entertainment.

Over the years, many have criticized the film, including Howard Hawks, Hawkins and Collins. On close examination, their criticism of the dialogue is only partially justified. While there is some verbosity, and the discourse between Khufu and his first wife over his desire for a son seems unnecessary if not ridiculous(in this instance actions would speak louder than words)the dialogue is more than serviceable. During the funeral ritual for the heroic dead, the grand, evocative speech is even inspired.

Hawks also lamented that the film contained "no one to root for." Indeed, Hawkins' Pharaoh is decisive, infrequently warm and unquenchably greedy. As Princess Nellifer, Joan Collins is even more unsavory. There exists however, a necessary counterpoint in the character of Vashtar, who designs the pyramid in order to free his people. James Robertson Justice gives a sympathetic performance as the designer who is alternately good natured, thoughtful, and indignant at the pharaoh's cruelty. As the pharaohs advisor, Alexis Minotis manages a remarkable acting feat by enforcing Khufu's will and simultaneously evoking audience sympathy. As Vashtar's son, Dewey Martin's All-American boy persona is the only off key note.

Despite the generally capable acting, the film's chief attraction is the abundant spectacle. The thousands of workers toiling to build the pyramid, and the colorful court pageantry, are what linger most in the viewer's mind. The much-discussed ending may or may not be historically accurate, but is nevertheless filmed with a chilling sense of realism. In short, Land of the Pharaohs is an interesting thematic departure from the epics of the 1950s.