JohnHowardReid 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.

Scott LeBrun 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.

pronker pronker A rewatch today made me anticipate the end scene all throughout the film - so much so that all the grandeur and scope of the first hour came as a pleasant surprise. Yes, I am interested in the technical aspects of how the pyramids were made and this film's plot is as good a speculation as any. Watch it for that alone.You can't help but see that the parallels between the Book of Exodus' Hebrews and this film were meant to be applied, because Cushites are pretty much unknown to modern audiences and thus the ending scene of Justice and his Cushites marching out into the desert are necessary for that familiar touch.What I especially liked were the religious aspects of a totally foreign way of life and thought - all the preparation for the afterlife while in the middle of 'life.' It's impossible to relate to without really thinking about the theme of this movie, shoving all the melodrama aside. I enjoyed the first hour quite a bit and the second not as much, but boy, that ending scene still resonates.

Matthew_Capitano What's that, Joan Collins? You want all my pharaoh's treasure? Here you go, sweetheart, take the key to the vault. You want my wristwatch? I got 37 bucks in my wallet that ain't doing nuthin'. Take it, pretty girl. I love you, Joan.Joan Collins is hot as the new princess in town in this episodic costume drama which horribly miscasts Jack Hawkins as the big wheel of these particular pyramids. It takes awhile, but he finally gets gutted, though he dies rather slowly.... hey Jack, will you drop dead already? I would have pushed him into some quicksand at the earliest opportunity. A long and mostly boring film, the ending totally sucks.As for Joan... Hey beautiful! Wanna wear my crown and be Pharaoh? I'll kiss your feet, Joan - and anything else you want me to kiss.