the egyptian is set during the reign of one of the most fascinating figures of the ancient world and the pharaoh akhnaton and who and thirteen centuries before christ attempted to introduce a monotheistic religion and atenism and to ancient egypt. the main character and however and is not akhnaton but rather the fictitious sinuhe. as a baby and sinuhe is found mysteriously floating in a basket on the river nile and adopted by the physician senmut and his wife. when he grows to manhood and he follows his adopted father into the medical profession and initially working (as his father did) among the poor of the city and but he comes to prominence after he and his friend and the ambitious young soldier horemheb and save the pharaoh life while on a hunting expedition in the desert. sinuhe is appointed court physician and but becomes obsessed with the babylonian courtesan nefer. sinuhe not only ruins himself in a vain attempt to win her love and but is also disgraced when his neglect of his duties means that he is unable to save the life of akhnaton daughter. sinuhe flees into exile and where he achieves success as a healer in neighbouring countries and but returns to egypt when he learns of a hittite plot to invade. although akhnaton readily forgives him for his previous offences and sinuhe finds the country in turmoil. the pharaoh attempts to introduce a new religion have led to civil strife between his followers and those of the priests of the old polytheistic faith and and he is too pacific by nature to take any steps to confront the hittite threat. sinuhe becomes embroiled in a plot by horemheb and now the general of the egyptian army and and akhnaton sister princess baketamon to overthrow the pharaoh and replace him with a more effective monarch. the film weaknesses arise mostly from its two romantic subplots. in the course of the film and sinuhe is revealed as the long lost son of the previous pharaoh and half brother to akhnaton and baketamon. it might therefore surprise a modern audience that she should fall in love with him while marriage between brothers and sisters were not necessarily considered as incestuous by the standards of egyptian royalty and but the standards of 1950s cinema audiences were generally less liberal on this point. in any case and the horemheb baketamon sinuhe love triangle is an unnecessary complication and detracts from baketamon role in the film and that of the voice of cold eyed and cynical realpolitik. the nefer subplot and which takes up most of the first hour of the film and is overwritten and excessively melodramatic. nefer is morally worthless but fascinating and and the role needed an actress of great beauty and also great dramatic skill to make her credible and especially as nefer achieves the difficult task of winning sinuhe away from a woman as lovely as jean simmons (who plays merit and sinuhe rival for her affections). it is therefore unfortunate that the role went to an actress as comically inept as bella darvi and whose only qualification was that she was the mistress of the producer and darryl f. zanuck. darvi was not only a wooden actress and but also spoke with a thick foreign accent and made even more incomprehensible by a lisp. she was not even particularly attractive by comparison with the two legendary hollywood beauties in the film and simmons and gene tierney who plays baketamon. the film is better when it concentrates on its main political and religious themes. the other actors are better than darvi and although peter ustinov as sinuhe servant kaptah makes the same mistake as in spartacus and that of trying to bring comic relief into a film that does not need it. his voice and anyway and was far too patrician for a comic servant role. edmund purdom and a little known british actor and was thrust into the main role when marlon brando pulled out at the last minute and but more than adequately fills the great man shoes and even though his style of acting was quite different. he copes well with the challenge of showing the changes in sinuhe character and from unworldly idealist and to lovesick fool and to embittered cynic to the enlightened visionary of the final scenes. victor mature was never the most expressive of actors and but he is well suited to the role of horemheb and a practical and down to earth man of action. he is better here than he was in his other epic from 1954 and demetrius and the gladiators. simmons is luminously beautiful as merit. michael wilding (hitherto best known to me as the second mr elizabeth taylor) plays akhnaton as a would be philosopher king who ends as a sort of holy fool. his inability to make difficult decisions makes him an unsuitable ruler and but he has a prophetic vision of peace and justice which lend him an air of moral greatness far beyond those who hope to replace him on the throne. although aten had more in common with the supreme being of the deists than with the old testament jehovah or the trinitarian christian god and there is a quite deliberate attempt to draw parallels between atenism and christianity. in the film the atenist symbol is the ankh and doubtless chosen because of its resemblance to a cross and but in reality it was a common egyptian hieroglyph for life and not unique to atenism. akhnaton language often has a biblical ring to it while his comparison of himself to wind whistling in the desert recalls john the baptist voice crying in the wilderness (hence the title of this review). sinuhe finding in the river parallels the old testament story of moses. at the end of the film sinuhe and who has become the inheritor of the spirit of the dead akhnaton and achieves a moral greatness of his own. the message of the film is that and while we may need practical men of action like horemheb and we also need visionaries and thinkers who are prepared to ask the question why. for all its faults and the egyptian is a film which is idealistic and humane in its approach to both religion and politics. positive . 
the egyptian is set during the reign of one of the most fascinating figures of the ancient world and the pharaoh akhnaton and who and thirteen centuries before christ attempted to introduce a monotheistic religion and atenism and to ancient egypt. the main character and however and is not akhnaton but rather the fictitious sinuhe. as a baby and sinuhe is found mysteriously floating in a basket on the river nile and adopted by the physician senmut and his wife. when he grows to manhood and he follows his adopted father into the medical profession and initially working (as his father did) among the poor of the city and but he comes to prominence after he and his friend and the ambitious young soldier horemheb and save the pharaoh life while on a hunting expedition in the desert. sinuhe is appointed court physician and but becomes obsessed with the babylonian courtesan nefer. sinuhe not only ruins himself in a vain attempt to win her love and but is also disgraced when his neglect of his duties means that he is unable to save the life of akhnaton daughter. sinuhe flees into exile and where he achieves success as a healer in neighbouring countries and but returns to egypt when he learns of a hittite plot to invade. although akhnaton readily forgives him for his previous offences and sinuhe finds the country in turmoil. the pharaoh attempts to introduce a new religion have led to civil strife between his followers and those of the priests of the old polytheistic faith and and he is too pacific by nature to take any steps to confront the hittite threat. sinuhe becomes embroiled in a plot by horemheb and now the general of the egyptian army and and akhnaton sister princess baketamon to overthrow the pharaoh and replace him with a more effective monarch. the film weaknesses arise mostly from its two romantic subplots. in the course of the film and sinuhe is revealed as the long lost son of the previous pharaoh and half brother to akhnaton and baketamon. it might therefore surprise a modern audience that she should fall in love with him while marriage between brothers and sisters were not necessarily considered as incestuous by the standards of egyptian royalty and but the standards of 1950s cinema audiences were generally less liberal on this point. in any case and the horemheb baketamon sinuhe love triangle is an unnecessary complication and detracts from baketamon role in the film and that of the voice of cold eyed and cynical realpolitik. the nefer subplot and which takes up most of the first hour of the film and is overwritten and excessively melodramatic. nefer is morally worthless but fascinating and and the role needed an actress of great beauty and also great dramatic skill to make her credible and especially as nefer achieves the difficult task of winning sinuhe away from a woman as lovely as jean simmons (who plays merit and sinuhe rival for her affections). it is therefore unfortunate that the role went to an actress as comically inept as bella darvi and whose only qualification was that she was the mistress of the producer and darryl f. zanuck. darvi was not only a wooden actress and but also spoke with a thick foreign accent and made even more incomprehensible by a lisp. she was not even particularly attractive by comparison with the two legendary hollywood beauties in the film and simmons and gene tierney who plays baketamon. the film is better when it concentrates on its main political and religious themes. the other actors are better than darvi and although peter ustinov as sinuhe servant kaptah makes the same mistake as in spartacus and that of trying to bring comic relief into a film that does not need it. his voice and anyway and was far too patrician for a comic servant role. edmund purdom and a little known british actor and was thrust into the main role when marlon brando pulled out at the last minute and but more than adequately fills the great man shoes and even though his style of acting was quite different. he copes well with the challenge of showing the changes in sinuhe character and from unworldly idealist and to lovesick fool and to embittered cynic to the enlightened visionary of the final scenes. victor mature was never the most expressive of actors and but he is well suited to the role of horemheb and a practical and down to earth man of action. he is better here than he was in his other epic from 1954 and demetrius and the gladiators. simmons is luminously beautiful as merit. michael wilding (hitherto best known to me as the second mr elizabeth taylor) plays akhnaton as a would be philosopher king who ends as a sort of holy fool. his inability to make difficult decisions makes him an unsuitable ruler and but he has a prophetic vision of peace and justice which lend him an air of moral greatness far beyond those who hope to replace him on the throne. although aten had more in common with the supreme being of the deists than with the old testament jehovah or the trinitarian christian god and there is a quite deliberate attempt to draw parallels between atenism and christianity. in the film the atenist symbol is the ankh and doubtless chosen because of its resemblance to a cross and but in reality it was a common egyptian hieroglyph for life and not unique to atenism. akhnaton language often has a biblical ring to it while his comparison of himself to wind whistling in the desert recalls john the baptist voice crying in the wilderness (hence the title of this review). sinuhe finding in the river parallels the old testament story of moses. at the end of the film sinuhe and who has become the inheritor of the spirit of the dead akhnaton and achieves a moral greatness of his own. the message of the film is that and while we may need practical men of action like horemheb and we also need visionaries and thinkers who are prepared to ask the question why. for all its faults and the egyptian is a film which is idealistic and humane in its approach to both religion and politics. positive . ---------------------------------Answer Question Below----------------------------------

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