Land of the Pharaohs (1955) User Reviews

Meticulous big production includes impressive location filming at Egypt

[ma-cortes · 7/10 · 29 December 2009]

This Colossal is the story of a barbarous love that left Egypt's Great Pyramid as its landmark. The movie centers upon Khufu or Keops (Jack Hawkins) and the scheming Nellifer (Joan Collins) who holds dark schemes to inherit Egypt empire. She and her lover (Sydney Chaplin) design one plot to kill him . Their treachery stained every stone of the Pyramid. Before he will have to face amount dangers and risks until obtain his objective.

Regarding the historic deeds, the film talks about Khufu(alias Keops). Keops was the second pharaoh of four dynasty from old empire Egyptian, and he made the great pyramid of Gyze that hold his name. He is succeeded by Kefren who made the sphinx Gyze and the pyramid. After goes on pharaoh Micerinos. Three pharaohs have pyramids on Gyze: Keops,Kefren and Micerinos.

Warner Bros took pride in presenting one of the mightiest motion picture-making in entertainment history. The film blends drama, treason and hokey historical events. Intelligent screenplay by the Nobel Prize William Faulkner. Set design and Egyptian time production design by Alexandre Trauner are very spectacular. This huge epic film gets lots of crowd scenarios,fabulous gowns, dramatic scenes and is realized on a giant scale and full of spectacular sequences such as the building the Great Pyramid. The film was a colossal with big financial success, besides spectacularly and colorfully photographed by Lee Garmes and Russell Harlan . Filmed in Egypt with a cast of thousands of the largest cast ever set abroad from Hollywood . Fine score by Dimitri Tiomkin based on ancient music. The cast is frankly perfect, Joan Collins is wonderful in an overwhelming hammy acting as nasty queen, Alexis Minotis as high priest is excellent and James Robertson Justice as pyramid architect is fabulous. Epic scale direction by Howard Hawks is breathtaking and groundbreaking. Rating : Better than average. Worthwhile watching for Colossal aficionados.

Wrongly criticized Hawks

[kirksworks · 8/10 · 7 December 2006]

Here's a film hotly criticized by not only many who saw the film, but by director Hawks himself. It's true, there's a bit of the Hollywood glam element to the production, but I'd say no more so than a half dozen other Hawks films, including the much more often praised "Rio Bravo" and "Hatari!"! (which both followed directly after "Pharaohs"). And the plot of "Pharaohs" makes a lot more sense than that of Hawks' earlier film, "The Big Sleep," which I believe is over praised because of its cast.

As a grand epic from the era where they made them big and were not afraid to spend money where it would show up on screen, "Land of the Pharaohs" surpasses many other epics of its period and even many recent films dealing with a similar subject (1999's "The Mummy" comes to mind). "Pharaohs" has an impressive and very satisfying climax that makes perfect sense historically and dramatically.

Also, no one seems to have mentioned the marvelous handling of crowds, particularly in the lengthy building of the pyramid sequence. I'll even go so far as to say the way Hawks composes his crowds for the cinemascope screen - arranging his Egyptian workers and pharaoh worshipers in intricate patterns with complex movements - rivals even Fritz Lang's similar work in "Metropolis" (1926), famous for its handling of crowds.

I think one of the reasons the film keeps getting bashed is because people haven't seen it in its original widescreen format in many years. Until recently, no Region 1 DVD has been available, so in its cropped, pan and scan VHS incarnation, the film comes across as wimpy and ridiculous. As can be seen in the widescreen DVD release, the grandeur is stunning, its art direction, costumes, sets and locations all holding up marvelously.

It must be said that composer Dimitri Tiomkin probably never wrote a score as majestically spirited as this one, a vast canvas of antiquity and drama. The cast is very much of its time, and some of the dialog is stilted and dated, but with the passing of time, most films suffer from this. Time passes and acting styles change. But a good plot holds up, and "Pharaohs" has plenty of the devious vs altruistic characters that drove many of Hawks plots effectively.

The powers that be in Hollywood finally released the film on DVD, promoting it as a camp classic, adorning the cover with a cheesy shot of Joan Collins, the one thing they apparently consider notable and sell-able about the film. Too bad. Yes, "Land of the Pharaohs" does have an element of campiness, but there is true grandeur in the vastness of the production and the fact that its cast of thousands was indeed a cast of thousands, not CGI. Perhaps one day the wonders of this film will be given the appreciation it deserves. As time passes these epics seem to be acquiring as much antiquity as the genuine historical period itself.

" This is your kingdom! Your reward for all your scheming murder and lies "

[thinker1691 · 8/10 · 6 February 2010]

The best remembered Pharaoh of Ancient Egypt's Forth Dynasty was Khafra. It is his face which adorns the Lion's Sphinx outside the city of Giza. However, it is Khafra's father, Khufu (Jack Hawkins) who is the subject of this incredible movie called " The Land of the Pharaohs. " During his reign, Khufu's story and written legacy is narrated by his infallible High Priest Hamar (Alex Minotis). He is not only well versed, literate, Intelligent and observant, but intuitive to a superior degree. While the pharaoh is busy conquering territory and greedily amassing a fabulous Golden treasure, his newest wife, Princess Nellifer (Joan Collins) is scheming to secure it for herself. The movie as directed by the legendary Howard Hawks, superbly depicts the capture of thousands of slaves who toil to build the Great Pyramid. Among them is a talented and gifted Architect named Vashtar (James Robertson Justice) who is chosen to design a 'thief proof' tomb in exchange for his people's freedom. William Faulkner wrote the movie script while music director Dimitri Tiomkin penned the exceptional and memorable sound track. The beautiful and colorful panoramic landscapes as well as the large scale dramatic scenes are a testament to Hawk's genius and has established this offering as a cinematic Classic. Excellent viewing for all. ****

"Who ever heard of a slave having a slave?"

[Hey_Sweden · 7/10 · 17 April 2015]

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.

Spectacular in an expensive sort of way

[Panamint · 6/10 · 6 September 2014]

"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.

The barbarous love that left Egypt's great pyramid as its wondrous landmark.

[hitchcockthelegend · 6/10 · 28 December 2013]

Land of the Pharaohs is directed by Howard Hawks and collectively written by Harold Jack Bloom, William Faulkner and Harry Kurnitz. It stars Jack Hawkins, Joan Collins, James Robertson Justice, Dewey Martin and Alex Minotis. Music is by Dimitri Tiomkin and cinematography by Lee Garmes and Russell Harlan.

It falls into the filmic splinter of historical epics that thrived greatly in the 50s and 60s, where a cast of thousands are costumed up to the nines, the sets sparkle and location photography smooths the eyes. Land of the Pharaohs has all these things, what it does lack is a high end action quotient, the makers choosing to craft a picture about intrigue in Pharaoh Khufu's (Hawkins) court as the great pyramid is constructed. This is not to say it's a dull picture, it maintains interest throughout, with shifty shenanigans afoot, femme fatale connivings and plenty of slaves standing proud for their cause. While the big finale is devilishly potent.

However, one has to really close off the ears at times to avoid the dreadfully wooden dialogue, and some scenes are painfully misplaced, such as the sight of a miscast 45 year old Hawkins wrestling with a bull, I kid you not. Also miscast is Collins, undeniably sexy, but never once does she convince as an Egyptian princess, and her make-up is awful. There are stars in the film, but it does in fact lack star power. The real stars are Tiomkin, Garmes and Harlan, who each bring the spectacle of the production to vivid life. It was a minor flop at the box office and Hawks pretty much disowned it, but it's not without intelligence and in spite of its flaws it's a good watch for historical epic loving adults. 6.5/10

Extremely underrated.

[dbdumonteil · 19 May 2004]

Because it belongs to a genre that has grown unhip ,Howard Hawks's magnificent epic ,his only movie in cinemascope ,gets incredibly low ratings."Rio Bravo" 's screenplay is not much better than "pharaohs" ,but it's fashionable to put a western on your best movies list.A sword and sandal cannot be serious (with the exceptions of "Ben Hur" and "Ten commandments" )and that's why "the Egyptian" and "land of the pharaohs " are despised and dismissed as cheesy.

Hawks's movie has one of the best ,most impressive and terrifying ending I know.These last pictures are a riveting tour de force with an editing to rival the best of Lang or Welles.The story spreads over fifteen years ,which is long for a relatively short work.Hawks was obviously more interested in his villains (Hawkins and Collins) than the heroes(the architect slave (Justice),his son and his people:both are fascinating.The pharaoh's dream of eternity is selfishness itself disguised as religion.To be buried with his riches to be able to enjoy them in his second life paradoxically seems a pagan attitude;the architect ,in direct contrast to him,is a slave who 's got nothing and he did not believe in life after life:it might make think of a Jew but neither him nor his people seem to have a religion,which is a very original move for a peplum (in Curtiz's "the Egyptian" ,the precedent year,the same went for the hero Sinouhe:these are the only examples in an epic).Hawks might have been influenced by Lang's wife's screenplay "das Indische Grabmal" ,which Lang finally took to the screen in the late fifties but which was filmed by others before him.Do not let the Faulkner reference fool you.He reportedly wrote half a page of script which can be summed up as follows:"Pharaoh pays a visit to the pyramid while the workers are sweating blood to get it done and he asks "how 's the work coming on?".

Nellifer is Joan Collins at her bitchiest: a greedy woman,who had already problems with dynasties.Unlike pharaoh,she wants to have her cake and eat it.Her acting is pure camp ,which fits the character like a glove.Her fate will make your hair stand on end.

Hawks makes a wonderful use of the cinemascope , when he displays a cast of thousands and when he directs his characters in the confined atmosphere of the pyramid.He succeeds in creating a sublime contrast between the dark subterranean of the grave and the luminous blue sky of the desert,particularly in the last sequences ,I say it again,among the very best of the fifties cinema.

Great for its genre

[KimB-3 · 7/10 · 29 June 1999]

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.

generally compelling

[lawgiver · 8/10 · 9 July 1999]

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.

A macabre melodrama with a final spectacular twist...

[Nazi_Fighter_David · 7/10 · 13 August 1999]

The pharaoh (Jack Hawkins) returns home after months in the desert, having fought his fifth war in six years...

During his victorious escapades he has zealously and aggressively accumulated a large quantity of gold... He tells his loyal friend Hamar (Alexis Minotis), the high priest, that he desires two things: a son by his queen, Nailla (Kerima), and a secure tomb where he, and his marvelous treasures will be buried for eternity...

Because he wants the royal tomb to be impregnable, he assigns the slave Vashtar (James Robertson Justice), an arquitect far superior to any Egyptian, to design it... Vashtar agrees to help the pharaoh on the condition that once the pyramid-tomb is constructed, his people will be freed... Only Vashtar, who will know the secret to entering the tomb, will have to die...

With "one heart" the people of Ancient Egypt responded to the call of their "living god", and came from every town and village to raise for him the immense impressive structure for his second life... They marched to a "holy labor" with great faith and great joy... They came singing from every corner of Egypt for the great task...

But the condensed work on the pyramid goes for years... During this time the queen bears the pharaoh a son, and Vashtar's son Senta (Dewey Martin) grows into manhood...

The pharaoh asks every nation to send him a tribute in gold... But Cyprus sends him an attractive young woman named Nellifer (Joan Collins) instead... Although her refusal to obey his commands angers him, she excites him like no one ever has, and becomes his second wife...

While the pharaoh is distracted by the progress on his pyramid, Nellifer carefully set a malicious plan to become heir to his throne and to his enormous treasures... She wins the heart of Treneh (Syney Chaplin), a palace guard, and together they plot to kill the queen...

With a selected group of bald, tongueless priests who allowed themselves to be buried alive, some cowards who get thrown into an alligator pit, and a sultry, dark-haired beauty with the highest ambition, "Land of the Pharaohs" is an interesting excursion into Ancient Egypt, basically a macabre melodrama with a final spectacular twist... The engineering details would make a fascinating documentary...

Hawk's Flawed Epic.

[jpdoherty · 3/10 · 17 May 2009]

Warner Bros. LAND OF THE PHARAOHS (1955) was one of those big widescreen spectacular epics that emerged in the fifties as Hollywood struggled against the onslaught of Television to maintain the cinema going population. It came in the middle of the cycle that began with "Quo Vadis" in 1951 and came to an end with the release of the multi-oscared "Ben Hur" in 1959. Beautifully photographed in Cinemascope and colour by Lee Garmes and Richard Harlan it was directed by the great Howard Hawks, who up to that time had never undertaken such a major project or one of such epic proportions and certainly not one concerning the building of a great Pyramid for an ancient Pharaoh. To moviegoers Hawks was known as the director of such staple Hollywood fare like the westerns "Red River" and "The Big Sky" and the Bogart Noir thrillers "To Have & To Have Not" and "The Big Sleep". "Land Of The Pharaohs" was such a departure for him I'm not sure if the giant production would perhaps be more suited and better handled by someone else like John Huston or William Wyler? Hawks himself - in a 1982 interview - said he was never happy with the movie "I messed it up! I thought it was great as far as masses of people and things like that, but I made a mistake. I should have had someone in there that you could root for. Everybody was a son of a b....". Watching this issue of the movie on DVD I have to say I am in accord with him. With the exception of Alexis Minotis who plays Hamer - the Pharoah Khufu's first minister and boyhood friend - there is nobody in the film you can have any empathy for and certainly no one you would be bothered rooting for.

Nor is the film particularly well written despite the fact that William Faulkner was one of three writers assigned to the project. Also there is a major fault in its casting! Having British import Jack Hawkins in the leading role was a mistake on Hawks' part! Hawkins, a stiff unwieldy sort of performer was fine when playing British army officer types or a Chief Inspector of Scotland Yard or even a Roman Consul but here he appears decidedly out of his depth as a Pharoah in ancient Egypt. In some scenes he can even look fearful. Olivier would have been a better choice or perhaps Richard Burton who by this time was gaining star status.

Then there's a remarkably poor performance from another British import - Joan Collins who plays Nelifer the woman who wangles her way to become Khufu's wife and conspires to relieve him of his vast treasure trove. Miss Collins, no doubt, is a feast for the eyes especially in some of the revealing outfits she wears but the lady simply cannot act! She delivers lines like a schoolgirl reading them in class without poise or conviction. Her performance is matched only by the ever bland Sidney Chaplin as her co-conspirator and the equally bland Dewey Martin. Coincidently, once Joan Collins comes into the picture it suddenly takes a left turn and begins its slide into mediocrity. What we get from here on is palace intrigue, conspiracy and histrionics on a grand scale. Another movie altogether really! Pity, because the first half wasn't too bad!

All is not lost however, as the most tangible aspect of the film is the outstanding score by Dimitri Tiomkin! The very opening of the movie has a brilliant martial variation of the main theme played by massed brass choirs complete with guttural trumpets and baying horns as Khufu returns home leading a procession of his vast armies (yes there really is a cast of thousands just like the publicity says - none of your modern CGI here). Tiomkin's powerful music propels the movie forward and later in the picture's only outstanding set piece - the dressing of the stones in the quarry and moving the great stones into place - male and female voices intone joyously and triumphantly. It is one of the great moments in film music! And in the final reel it is Tiomkin's music that moves the great stones into position and seals the Pharaoh's tomb forever. Alongside John Wayne's "The Alamo"(1960) "Land Of The Pharaohs" is Dimitri Tiomkin's masterpiece!

I give the movie a three star rating for the reasonably good first half, the fine early Cinemascope / colour cinematography and of course for Tiomkin's exciting score. The disc comes with a good trailer and a not so good commentary by Peter Bogdanovitch.

Guilty Pleasure

[franzfelix · 9/10 · 14 March 2005]

Although I know better, I confess I'd rather watch this movie than any number of masterpieces. Jack Hawkins (pharaoh) forces magisterial James Justice (slave Vashtar)to construct an impenetrable pyramid for his cache of loot. Pharaoh runs short of money, forcing subject provinces to cough up the funds to keep the public works project going...the excuse for a breathtaking and youthful Joan Collins to enter the cast, and in short order, to subjugate pharaoh himself. Eternal riches seem rather dull compared to her considerable mortal charms.

All of this takes a back seat to the superb coup de main of the last five minutes when all the characters get their wish--for treasure, for power, and the security of eternity.

The excellent musical score helps.

Great, despite absence of Victor Mature

[KimB-3 · 7/10 · 29 June 2000]

How can you have a great "swords and sandals" epic without Victor Mature and his gams? Perhaps by casting Joan Collins as a wickedly greedy princess with about a hundred costume changes. What can I say, I love this film. It's not even a guilty pleasure--I'll gladly watch it any Saturday afternoon. It's Hollywood at its best: a movie made just for the sheer enjoyment of watching movies. There's no deeper meaning or social agenda -- it's about a pyramid, an aging Pharaoh, a scheming woman, and a slave winning freedom for his people. What else does any picture need?

Ponderous film worth watching for all its' missteps in the first half

[AlsExGal · 5/10 · 9 November 2019]

In Ancient Egypt, Pharaoh Khufu (Hawkins) returns from another war. laden with gold and jewels and other spoils. He is very concerned with the matter of a secure tomb being built for himself and his gold in the Afterlife. After much negotiating, he begins construction on his tomb. When he receives tribute from conquered nations, Cyprus offers him Princess Nellifer (Collins) in place of gold and grain.

The characters are talking like Kentucky colonels. That's occasionally noticeable, but that's not the most noticeable misstep. The scenes of crowds mourning are scored and played like a gospel revival service, just set in Egypt. The scenes of slaves singing while they build pyramids are good for a horselaugh or two. The film is filled with British accents (Collins, and others).

None of the actors really make an impression, except for Collins. Her performance is campy villainy (if she had a mustache, she'd twirl it), but she gives the film a badly needed shot of energy with her two-faced treachery. Screenwriter Faulkner even steals a plot development from "The Little Foxes" (1941) to give Collins her "Bette Davis moment" of high drama (or camp, depending on your viewpoint). It's rare that I'll credit Joan Collins for saving a film or anything else for that matter, so you know this one needed help badly.

If the whole film was as good as the last half hour, it might have been a classic. As it is, film is worth a watch for lovers of 50's spectacles and bad films. Dimitri Tiomkin contributed a good score that keeps the film moving along.

The ending gave me chills!

[Pat-54 · 7/10 · 26 April 1999]

When I watched this film, I fully expected to witness a 1950's camp drama. But what I found was a very gripping script and excellent performances, in particular Joan Collins. The ending gave me chills!

The Biggest Tomb Of Them All

[bkoganbing · 6/10 · 16 May 2012]

Land Of The Pharaohs will go down in cinema history as Howard Hawks's attempt to out DeMille, the great Cecil B. in DeMille's own territory of cast of thousands spectacle. Hawks got a rather mixed reception for his film in that regard.

In its way Land Of The Pharaohs is as campy a film as any DeMille ever gave us even without the arcane writing that typifies a DeMille product. Jack Hawkins as Pharaoh Khufu is the ruler that stretched Egypt's hegemony over its widest area and he's decided that he's going to have the biggest tomb around to symbolize his glory. To design such a tomb he drafts James Robertson Justice who is an architect among the prisoners of a recently conquered people. In a package deal Hawkins gets the son as well who grows up to be Dewey Martin and who during the course of the film incurs a big debt from Hawkins.

The biggest problem in this film is that ultimately the subject of the film is ego and vanity. Hawkins with his bloody conquest and his desire to have a monument to stand for all time to his ego and vanity is just not a terribly sympathetic figure.

But he's positively heroic to the vixenish young Joan Collins who starts out as a Cyprian princess given to Hawkins in return for tribute of a few thousand bushels of wheat. Right there Hawkins should have sent the baggage packing, trophy concubines he can get anywhere, but that grain was to feed his army of workers on that tomb.

Once in the palace, Collins starts intriguing in her best Alexis Carrington manner, but she gets a rather fitting fate in the end.

Land Of The Pharaohs does have some nice crowd scenes that DeMille might have envied. Some of the best scenes show the ancient methods of construction of the tomb with nice Dimitri Tiomkin music accompanying.

But story and characters are the base of a really good film and Jack Hawkins is not a heroic Khufu by any means.

Building the Great Pyramid in Egypt

[Wuchakk · 7/10 · 12 October 2021]

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.

Must be seen letterboxed!

[patrick.hunter · 26 April 2001]

The memorable ending was probably inspired by a brief comment by Herodotus, about how the Great Pyramid of Khufu (Herodotus calls him Cheops) was sealed solid. It's the earliest known writing on the events of the story and it was penned near a thousand years afterward. Needless to say, not much is known about the real Khufu; we only have an idea of what he even looked like, from a minor statue around his era that might be him (I've seen a photo of it, and--sonovagun--it does look a little like Jack Hawkins!).

In any case, not having much info to use, Hollywood was free to invent, and they did, creating a very entertaining and spectacular flick. It may not be history, but it sure is fun, and the pyramid-building scene is, logistically speaking at least, the most impressive sequence ever achieved by director Howard Hawks.

Queen of the Nile...almost(?)

[nibiruorr · 7/10 · 13 May 2014]

As tribute to the all-conquering mighty Pharaoh Khufu, Jack Hawkins, Princess Nellifer, Joan Collins, offers herself in place of spoils to fill the pharaoh's treasure vaults given that she's just a poor ruler from an even poorer country. In no time at all, she becomes the fave of the pharaoh using her seductive wiles and allure in an ambitious scheme to usurp the throne, letting nothing and no-one, including the current queen, her son and pharaoh himself stand in her way. Long regarded by many in Hollywood as the poor man's Liz Taylor, Collins' makes the most of her own flawless beauty, and, talent as a legitimate actress in a once-in-a lifetime role as Nellifer. She even manages to overshadow and upstage Hawkins in their scenes together. Other points of interest include our being afforded an insider's POV of how the pyramids might have been constructed from drawing board stage and labyrinthine interior to stone apex. Filmed on location, director Howard Hawks enlisted some 9,787 extras actually recruiting from the ranks of the modern Egyptian Armed Forces. Novelist William Faulkner co-wrote (but didn't necessarily improve upon) the screenplay. Spoiler alert: In the classic tradition of Greek tragedy, Collins' receives her just reward in what has to be the ultimate cinematic revenge.

Don't Forget the Score!

[toy-chris · 9/10 · 10 January 2006]

My rating is about the number of times I saw this movie as a kid.

All the other reviews aside, I wanted to reinforce one aspect of the film that is only mentioned in one other review: the score. Few scores gave me goose pimples as a kid, but this one did. The grandeur of the score exactly matched the vastness of the screen images. The scores of that era were influenced by the fact that Hollywood was still making really fine musicals, so the themes in the scores were memorable. I can still hum the theme today. I know today that these films are regarded as camp and corny, but for a kid growing up in that era, these films transported you to amazing places and times. The music in this film truly enhanced that experience.

Not so bad at all!

[JohnHowardReid · 7/10 · 24 September 2017]

Technically, "Land of the Pharaohs" is pretty good. All the dialogue was looped in London (where the film was edited), so that not only do we have all the principals voicing their own lines, but harmonizing English accents given to the large roster of anonymous Italian support and bit players led by young Piers Giagnoni (and probably — the dubbing is so skillful, it's commendably difficult to tell — Luisa Boni).

Less unobtrusive is an obvious difference in grading between the 2nd unit photography in Egypt (presumably the work of Russell Harlan) and that of the main unit both in Egypt and Rome. (On second thoughts, I incline to the view that three cinematographers were used: An unsung lens-man — maybe Skeets Kelly — with Noel Howard, Harlan with Hawks in Egypt, Garmes with Hawks in Rome).

It must be admitted that most of Hawks' fans do view "Land of the Pharaohs" with a mixture of dismay and incredulity. They have all actually seen this one. After all it's been on television so many times they could scarcely avoid it. (Of course standard TV is no way to view this movie. Although Hawks does center most of his interior action in the middle of the frame, the full impact of the vast location exteriors is lost.

Principal cause for complaint is the acting. The principal target of the critics' wrath is Joan Collins. (Actually I thought she was pretty good. She often seems to be sending herself up and playing her ridiculous lines with a wonderful sense of mischievous tongue- in-cheek. I've no doubt her apparent flair was not the result of deliberate artifice but simply due to her inexperience, but it's the end result that matters. Hers is a satirically spirited performance. And she looks great too).

Hawkins is usually given the thumbs up. (I thought he was miscast, but managed the role with moderate credibility considering the heavy weather he makes of most of his lines). Dewey Martin is usually passed over in silence, though his is by far the least convincing portrait and his American looks and accent are way out of place. I will admit that Sydney Chaplin is even less engaging and that James Hayter seems equally anachronistic, but their roles are much smaller.

Although handicapped by obvious aged make-up, Justice makes a fair fist of his captive architect. Kerima's portrait of the queen is so wholly engaging, I wish that her part was much larger.

Oddly enough, it is Alex Minotis who effortlessly walks away with the film's acting honors. He is always personable, convincing, agreeable and even charismatic. In scenes with other players who often seem dumbfounded by their lines, he is a tower of assurance and confidence. His high priest is never less than totally appealing.

The scriptwriters, headed by the Nobel Prizewinning William Faulkner of all people, have come in for a good deal of criticism. Trite dialogue, banal, imitative plotting (the hackneyed flute-snake incident, for example, stolen from a hundred books including Romer Godden's The River) and weak characterization are all just jibes. As a peg on which to hang the spectacle, though, the script is strong enough.

As a spectacle, "Land of the Pharaohs" succeeds handsomely. Hawks has directed the crowd scenes with flair, using the full resources of the CinemaScope screen, and even a few pan and traveling crane shots. The camera-work is often intriguing, and the music score is so wonderfully audacious and distinctively atmospheric, it's hard to credit it wasn't even nominated for a Hollywood award. Certainly Hawks thought so highly of it that he plugs it in the film's advertising, a rare honor for a composer so far as a non-musical is concerned.

Magnificently awful!

[bearofmcc · 2/10 · 14 April 2004]

Who can ever forget Joan Collins whining, "I don't wanna die! I don't wanna die!"? Who knew cobras could memorize annoying tunes? Who knew pyramids were so technically advanced, and with the wondrous power of SAND? Who can resist falling on the floor laughing when the tongueless priests of Amon answer questions?

This movie is well worth watching, but *not* if you mean to take it seriously. It's just for fun--grand in scope and spectacle, grand in its overblown writing. Definitely a must-see, but perhaps better with mind-altering substances to help.

I love this dreadful movie!

Memorable movie

[paulagary · 8/10 · 27 December 2005]

This may not be the greatest movie ever made, but it is one of the most accurate in terms of its staging, costumes, and set design - especially for the era in which it was made. Despite Cecil B. DeMille's propaganda this movie accurately portrays the pyramid builders as Egyptian free men. The premise for the construction of Khufu's pyramid is exceedingly creative - and has been suggested by some scholars. Many of the outside construction scenes have been used in other movies and documentaries to provide a fairly realistic view of what the construction would have been like. And, Jack Hawkins made a terrific pharaoh - if you had to use a Caucasian. I first saw this movie as a child and was enthralled. I'm sure it helped fuel the interest I still have in scholarly excavations throughout the Mid East. Worth seeing for the sheer enjoyment and scenery.

A game of two halves

[neil-476 · 6/10 · 16 March 2011]

Land Of The Pharaohs is a treat to be savoured, because it is not often that a film embraces the extremes of the spectrum so comprehensively.

This is not a cheap movie. Production value is all over the screen throughout the running time - sets, costumes, effects, music - every dollar is up there on screen for the audience to see. This is a sumptuous movie, very much in line with the other biblical and pre-biblical era movies which were being made at the time.

And then, divergent by 180 degrees, it is trash. It doesn't think it's trash, of course, it thinks it is a quality piece of work. But, at its heart, is a performance of histrionic trashiness by the High Priestess of trash Joan Collins, and this performance taints all the others by association.

That sounds critical, but it isn't meant to be - Collins' Nellifer is an absolute joy, by far the most entertaining performance in the movie. I recommend this film, but make no mistake, it is high class trash.

Not pharaoh good

[Lejink · 3/10 · 15 May 2012]

I love Howard Hawks but was aware of this film's reputation as his biggest flop, so much so that he gave up making movies for some years after its critical mauling and commercial failing.

To be fair, it's not hard to see why. Obviously seeking a slice of the "Biblical epic" bounty (although there's not a Christian in sight here), Hawks weighs in with a fantastic spectacle, from the location photography, to the crowd scenes to the set building of Pharaoh's tomb with its intricately engineered self-sealing mechanisms, but gives us a story with no dramatic tension or interest, over acted by a not quite top rank cast.

It's easy in fact to see Jack Hawkins and the young Joan Collins as stand-ins for dare I say it Burton and Taylor but even they would struggle to give life to the script here.Also Hawks dwells far too much on his spectacle, the camera lingering on every panorama for what seem interminable minutes while the dialogue is over-expository at best, stilted at worst.

The central characters of Hawkins vainglorious Pharaoh and Collins' girl-on-the-make Nellifer garner no sympathy at all and the main plot device of Hawkins building a tomb for his own posterity is hardly one to quicken the pulse. There are sub-plots involving Pharaoh's passed over first wife and son, Nellifer and her lover, the captain of the guard and master-architect James Robertson-Justice's efforts to free his vanquished people from hostage by indulging Pharaoh's grand scheme, but none of it comes together, not helped as indicated by dialogue as old and dry as the desert sand.

On the acting, only Robertson-Justice scores by down-playing his character, something everyone else on the set could have learned from.

On the evidence of this, Hawks was right to take a hiatus from Hollywood after "Land Of The Pharaoh's" release. This is tired, stolid work and almost unrecognisable as one of his movies.