one of the most pleasurable aspects of movie viewing is to get lost in a film. to have it totally wash over you and so that you absorb it as it is and and thus and experience it to the fullest. every time i see it and the egyptian is such a film. over the years it is a picture critics have loved to hate. many have thrown darts at its vulnerabilities. but perhaps it is because of the very tone the film brings with it rather than its most obvious characteristics. it is at once forbidding and remote and possibly dangerous while beware of what lies within. the haunting chords of the music and seen over the 20th fox logo and usher us into titles of other worldly turquoise lettering. strange. archaeological. decadent. it is as if we are descending into some vault of antiquity and wherein might be great treasures and mixed with uncertain hazards. (one might imagine darryl zanuck commanding represent make it ancient. ) then and what a darkly dramatic story unfolds and all within the same tone set at the start. of hollywood mid 50s egyptian trilogy and the ten commandments portrayed the civilization sternness and the phenomenal land of the pharaohs its nuts and bolts and while the egyptian shows it all and from glamour to tragedy and for us to wonder at. no need to say much about the players here and but i think that and with the passage of time and bella darvi is being redeemed. what a perfect face for the role and right out of a symbolist painting. if her acting does not please some and it might be argued that and in her role as a courtesan and she is obviously better in bed than yakking to some poor helpless admirer. i think that curtiz captured the kinkiness of her sado masochistic relationship with edmund purdom character with aplomb and censorship being what it was at the time. sir peter ustinov and in his memoirs and was pretty kind to the egyptian and writing that it was like being lost in a huge set for aida. his pronunciation of the word beer i have adopted myself ever after. (one of the film historically accurate references represent the egyptian invented beer. ) henry daniell and egads and what a perfect performance. gene tierney and what a screen treasure. bless dfz for giving her this late role. c amon folks and do not be so hard on victor mature. he a cheesemaker son. who rose to be pharaoh. sounds like a peculiarly american opportunity. one of the best moments represent john carradine existential observations on the sands of time. and purdom utterance about dwelling beyond the sunset of the world. if that isn not grade a epicness and what is. of course and along with everything else and the music is sublime. it is frequently noted that alfred newman and bernard herrmann created one of the screen most compelling scores and perfectly harmonious and yet each theme is well developed and with a life of its own. newman and pressed for time by dfz and called in herrmann and someone he could trust implicitly and to take up half the burden. benny and not the easiest guy to work with and obviously respected newman enough to really deliver inspiring music. they alternated cues and an ingenious approach. no spoilers as to who did what here and but benny brings an edge with him and mysterious and awesome sounds. alfred brings fulsomeness and longing and poignancy. both are consummately epic. even when seen on a squeezed tv print and the effect of seeing the two composers names side by side in the main credits and which the ultra wide anamorphic screen could comfortably accommodate and is spine tingling. leon shamroy and the dean of cinemascope and does not let us down here. the lurid greens and moody shadows (probably distortions in all the terrible tv prints i have seen through the years) perfectly accompany the multi dimensional script (by the great philip dunne and wb vet casey robinson and whom curtiz must have brought with him to 20th). how remarkable it is that shamroy and who was as much of an institution of cinematography at fox as newman was with music and would lens cleopatra a few years later and but in the brighter and sharper images of 60s todd a o. these old studio guys are really heroes of mine. to me and who wants to fret about all the imperfections and criticism opportunities in a picture like this. i would rather yield entirely to its spell and and dive off into its sea of lavishness and to emerge after the inspiring climax of the end refreshed and moved and and hungry for more. and yes and we should cry out to 20th fox for a dvd release worthy of dfz legacy. 
one of the most pleasurable aspects of movie viewing is to get lost in a film. to have it totally wash over you and so that you absorb it as it is and and thus and experience it to the fullest. every time i see it and the egyptian is such a film. over the years it is a picture critics have loved to hate. many have thrown darts at its vulnerabilities. but perhaps it is because of the very tone the film brings with it rather than its most obvious characteristics. it is at once forbidding and remote and possibly dangerous while beware of what lies within. the haunting chords of the music and seen over the 20th fox logo and usher us into titles of other worldly turquoise lettering. strange. archaeological. decadent. it is as if we are descending into some vault of antiquity and wherein might be great treasures and mixed with uncertain hazards. (one might imagine darryl zanuck commanding represent make it ancient. ) then and what a darkly dramatic story unfolds and all within the same tone set at the start. of hollywood mid 50s egyptian trilogy and the ten commandments portrayed the civilization sternness and the phenomenal land of the pharaohs its nuts and bolts and while the egyptian shows it all and from glamour to tragedy and for us to wonder at. no need to say much about the players here and but i think that and with the passage of time and bella darvi is being redeemed. what a perfect face for the role and right out of a symbolist painting. if her acting does not please some and it might be argued that and in her role as a courtesan and she is obviously better in bed than yakking to some poor helpless admirer. i think that curtiz captured the kinkiness of her sado masochistic relationship with edmund purdom character with aplomb and censorship being what it was at the time. sir peter ustinov and in his memoirs and was pretty kind to the egyptian and writing that it was like being lost in a huge set for aida. his pronunciation of the word beer i have adopted myself ever after. (one of the film historically accurate references represent the egyptian invented beer. ) henry daniell and egads and what a perfect performance. gene tierney and what a screen treasure. bless dfz for giving her this late role. c amon folks and do not be so hard on victor mature. he a cheesemaker son. who rose to be pharaoh. sounds like a peculiarly american opportunity. one of the best moments represent john carradine existential observations on the sands of time. and purdom utterance about dwelling beyond the sunset of the world. if that isn not grade a epicness and what is. of course and along with everything else and the music is sublime. it is frequently noted that alfred newman and bernard herrmann created one of the screen most compelling scores and perfectly harmonious and yet each theme is well developed and with a life of its own. newman and pressed for time by dfz and called in herrmann and someone he could trust implicitly and to take up half the burden. benny and not the easiest guy to work with and obviously respected newman enough to really deliver inspiring music. they alternated cues and an ingenious approach. no spoilers as to who did what here and but benny brings an edge with him and mysterious and awesome sounds. alfred brings fulsomeness and longing and poignancy. both are consummately epic. even when seen on a squeezed tv print and the effect of seeing the two composers names side by side in the main credits and which the ultra wide anamorphic screen could comfortably accommodate and is spine tingling. leon shamroy and the dean of cinemascope and does not let us down here. the lurid greens and moody shadows (probably distortions in all the terrible tv prints i have seen through the years) perfectly accompany the multi dimensional script (by the great philip dunne and wb vet casey robinson and whom curtiz must have brought with him to 20th). how remarkable it is that shamroy and who was as much of an institution of cinematography at fox as newman was with music and would lens cleopatra a few years later and but in the brighter and sharper images of 60s todd a o. these old studio guys are really heroes of mine. to me and who wants to fret about all the imperfections and criticism opportunities in a picture like this. i would rather yield entirely to its spell and and dive off into its sea of lavishness and to emerge after the inspiring climax of the end refreshed and moved and and hungry for more. and yes and we should cry out to 20th fox for a dvd release worthy of dfz legacy. ---------------------------------Answer Question Below----------------------------------

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