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H. Rider Haggard's "She" is a book that transcends its original intent. It's a great African adventure yarn, to be sure... but Haggard out-did his usual fare in this case, hitting a particularly resonant chord with his vivid archetypal image of the Eternal Female.

This particular film rendition similarly out-does the usual Hammer horror fare. The story is faithfully adapted from the book, with only the sort of changes that are inevitably needed to squeeze hundreds of pages of text onto less than two hours of celluloid. With no special effects or CGI to distract, Haggard's original plot remains the chief attraction, and what a great Saturday-afternoon adventure it is! Lost cities in Africa... a mysterious queen... the secret of immortality... these elements have been combined many times, but rarely any better than they are here.

Christopher Lee and Peter Cushing are solid actors, and give two otherwise conventional roles a delightful extra spin. But the real surprise is Ursula Andress, who seems to have been perfectly directed: she avoids stretching her limited talents, and concentrates on looking regal and mysterious. The costume design helps; I'm not a big fan of Ms Andress' charms, but I find the image of her in that golden-feathered headdress quite unforgettable.

A word also about the music. The four-note fanfare that announces the arrival in the hidden land is absolutely perfect. No lost-civilization film should be made without it.

I keep hoping that some director equipped with both budget and talent one day delivers the screen version that "She" really deserves. But until then, this one will do very nicely.

I'm not sure why everyone dislikes this film. It not only looks absolutely fantastic for a Hammer film, but also features some fantastic performances by some some of Hammer's best actors(and some who aren't Hammer actors). Some of the amazing performances come from the always excellent Peter Cushing, the(finally)newly knighted Christopher Lee, the great Bernard Cribbins and in her first(and last) Hammer film, the gorgeous Ursula Andress as SHE herself. This film is also wonderfully directed by another one-off Hammer director, Robert Day. However this film does have some low points as well. Some of the plot threads are a little silly and some of the later scenes are very repetitive. By no means the best Hammer film, but no where near the worst.

This Hammer production is a fantasy-adventure film. After a brief encounter with a beautiful mysterious woman, a group of adventurers set off to find a lost city in remote Palestine in which she claims to rule. It turns out that she is an immortal being, and one of the party is a reincarnation of her long-lost love. The men subsequently find the lost city and encounter at first-hand She Who Must Be Obeyed…

Despite the presence of a number of Hammer regulars, this is essentially an Ursula Andress vehicle. She was just off the back of her iconic sea-emerging moment from Dr No and was clearly hot property at this time. Not the most gifted or charismatic actress, Andress is never-the-less a very beautiful woman, and therefore looks the part in this role. She is kitted out with an array of fabulous flowing gowns and ornamental head-dresses. And seeing as she is very much the main selling point of the film, it's important to note that she is certainly very aesthetically pleasing. The story itself is very much by-the-numbers, and not especially interesting but is merely a means to an end. Namely an excuse to introduce Ursula in regal attire in fantasy surroundings. These sets are limited by the budget of course, but like all Hammer films it still looks pretty good all things considered. Unlike most Hammer films, though, there is also some on-location photography too, with scenes shot in the desert in the Middle East. This indicates quite clearly that the famous old studio invested a bit more into this production than most, and clearly this was not misplaced seeing as She was one of their biggest commercial successes. Despite this, it isn't in the final analysis an example of the best of their output. It's a little lacking in excitement for too much of the time. Having said this, it does have a rather good ending that is both creepy and surprising. And not only that, it does have both Peter Cushing and Christopher Lee at its disposal which can never be a bad thing quite honestly. So with this in mind and also taking into account that we have a gorgeous ice queen in the lead role, She is a film that has some good things going for it.

Lovely Hammer vehicle about a group of Britishers trying to find fame, fortune, and for one, love in the desert. The three men are Peter Cushing as a professor of archaeology, Bernard Cribbins as his valet, and John Richardson as Leo...the man promised all if he makes the perilous trip through the desert for She. She is an atypical Hammer film. There is not a lot of blood and horror, but plenty of adventure. The film boasts a fine Hammer troupe of wonderful actors. Cushing is exceptional as the professor. Cribbins(a very underrated actor) also shines. Andre Morrell and Christopher Lee also are on hand. Lee has little to really do, however. The male lead Richardson is a bit on the monotonous side, but he does an adequate job. She, the queen of a lost city and people, is played by sex goddess Ursala "Undress" Andress(she keeps her clothes on in this one). Andress probably does give her finest acting performance in this film(it's okay but don't get TOO excited!). The settings look very good, very realistic, and the score by veteran Hammer composer James Barnard easily is the best thing about the film. Bernard creates a wonderful variety of music which enhance the action and romance in the film.

I really enjoyed Bernard Cribbins as Job, the valet or manservant of the Major, played by Peter Cushing. The barroom scene where Job and the Major take on a squad of drunken soldiers was great fun and should have been longer. Another poster mentioned what great fun it was to see Peter Cushing and Bernard drunkenly dancing with some sexy belly dancers and I agree. It was fairly decent movie that was colorful in the style that Hammer Production was well-known for in the Sixties. I had to wonder about She Who Must Be Obeyed soldiers who perhaps ripped off their garb and shields from another movie being made about the Roman legions on another studio lot. Ursula was very sexy and beautiful. Overall, it is about average sandal and sandals movie.

Hammer are famous for making horror movies (obviously), and 'She' is often considered amongst Hammer's horror offerings. I beg to differ from that notion, as although it certainly has horror elements: this is most definitely an adventure movie. Still, the delirious Hammer style is definitely still there and this movie succeeds in conforming to the camp ideals that Hammer became famous for (and that I love them for!). This is also one of many (though not enough!) movies to feature the immense talents of both of Hammer's super-heavyweights; Peter Cushing and Christopher Lee, and both deliver to their regular high standard. The plot follows three men who travel to a lost city in search of riches that have been promised to them upon their arrival. However, the city is ruled by the powerful 'She who must be obeyed' (Ursula Andress) and she believes one of the men to be her reincarnated love, so sets about making him conform to her way of thinking...

The film exudes a sense of sleaze, in spite of not being essentially sleazy. This has come about due to the central theme of the woman being the dominant party, and as the woman in question is played by the domineering Ursula Andress, that sense is exuded quite plainly. Also joining in the fun aside from Cushing, Lee and Andress is Hammer favourite André Morell, who completes a rather fine cast. The low budget is more than obvious on a number of occasions, mostly through the cheap looking sets, and it seems as if the producers have been a little over ambitious. It doesn't matter, though, as the low budget adds to the charm and appeal of the movie, which ensures that the movie is even more fun for the viewer. The moral to the story has some credibility too, and the ending actually succeeds in being fairly powerful. On the whole, 'She' isn't a prime example of how great the adventure genre can be; but it's a solid film, and fans of low budget kitsch will find something to like.

I have seen both the famous 1935 version of "She" starring Helen Gahagan as well as this 1965 version with Ursula Andress. And, while the '35 version is rather infamous as a bad movie (being named to a list of enjoyably bad films by the guy who came up with the Razzie Awards), I think it was much more enjoyable. This 1965 remake, unfortunately, is a bit talky and stiff. However, for fans of Hammer films, escapism and the films of either Peter Cushing or Christopher Lee, it's still worth seeing.

It's interesting that John Richardson receives fourth billing, as to me he was the lead in this film. He doesn't realize it, but he's actually been ordained to become the courtesan of a crazy lady (Andress) who has achieved immortality. The problem, however, is that she is completely amoral--leading a society in a lost city where SHE is to be obeyed--even when she is cruel and capricious--which she frequently is. Yet, oddly, Richardson is drawn to her and feels a sense of destiny--that he MUST have her and join her. Along for the ride is Peter Cushing and Christopher Lee plays her high priest.

The film is pure escapism. Yet, despite the sets and costumes, the film seems to be a bit dull--and spends too much time talking and talking. Now it isn't a bad film--just not all that memorable.

One really shouldn't need to say more about this movie than that it contains the gorgeous Ursula Andress in her most imperious role, plus the incredibly lovely Rosenda Monteiros. =) But if one must, one will say that this is a classic adventure of innocence, devoted to the concept of faithful and undying true love and the ancient dominion of the Divine Female over all. Completely knocked me over when I was 14 and hasn't lost anything since. I just love it.

Ursula Andress ordering the execution of chained natives whilst wearing what looks like a bird costume; Peter Cushing and Bernard Cribbins cutting the rug with a couple of belly-dancers; Chris Lee wearing a stupid hat: 'She' might not be the greatest Hammer film of all time, but it certainly has its fair share of moments that make it worthwhile!

Based on the H. Rider Haggard adventure of the same name, this 1965 offering from the 'studio that dripped blood' sees a trio of adventurers—Holly (Cushing), Leo (John Richardson) and Job (Cribbins)—seeking the fabled city of Kuma, after they come into possession of a map that reveals its location. After risking their lives travelling through a desert, they arrive at their destination where they meet Ayesha, the immortal queen of the city, who reveals to Leo that he is the reincarnation of her dead lover Callicrates. Now, after 2000 years of waiting, Ayesha will do anything to keep him by her side for the rest of eternity.

Directed by Robert Day (who had previously helmed a couple of Tarzan movies and therefore would seem like an obvious choice for this adventure set in the 'dark continent'), 'She' is a lavish production that, whilst it might never be labelled a classic, has enough spectacle to make it worth a go.

As always, Cushing and Lee give solid performances, and Cribbins is likable as reluctant adventurer Job; Andress and Richardson are rather wooden, but are easy on the eye. Also rather lovely is Rosenda Monteros, as Ustane, a native girl who almost succeeds in luring Leo away from the manipulative Ayesha.

If you're a fan of Hammer films in general, and are partial to a bit of exotic adventure set in far flung lands, then 'She' should fit the bill rather nicely.

6.5 out of 10, rounded up to 7 for IMDb.

I was looking forward to this Hammer Films color remake of the H. Rider Haggard classic, after having re-acquainted myself with the fine 1935 black-and-white version last year. I was also glad to be able to get another Peter Cushing/Christopher Lee collaboration under my belt: this was, in fact, followed by another - Dracula A.D. 1972 (1972) - but, alas, both films turned out to be duds!

Even if it retains the desert setting of the novel (whereas the earlier version had transposed the narrative to the Arctic, albeit effectively), the film doesn't capture the imagination of the audience, so to speak, and emerges a dullish venture overall. Indeed, even the Hammer stalwarts - Cushing, Lee and composer James Bernard - seem uninspired by the material and their individual contribution is surprisingly below-par! To make matters worse, the two stars were largely relegated to the sidelines to make way for the insipid three-way romance comprising Ursula Andress, John Richardson and Rosenda Monteros (though the girls, at least, constitute undeniable eye-candy). Having just viewed THE CREEPING FLESH (1973), I appreciated Cushing's healthier-looking appearance here - though the Dracula film, needless to say, brought me back to his impossibly gaunt physique which resulted from the untimely death of his beloved wife!; as for Lee, ridiculously decked with a beehive-shaped headset during the climactic scenes, he was obviously the villain of the piece. The cast also featured Bernard Cribbins as Cushing and Richardson's companion/servant and a bare-chested(!) Andre' Morell as Monteros' father.

Despite having previously helmed two Boris Karloff horror vehicles - GRIP OF THE STRANGLER (1958) and CORRIDORS OF BLOOD (1958; which also featured Lee), both of which I've yet to catch up with myself {where are those rumored Criterion/Eclipse SE DVDs?} - this was Robert Day's only film for the Hammer stable, and it's easy to see why!

Despite changing the setting from the Arctic to Egypt, this version of the H Rider Haggard story appears to definitely have taken a lot of inspiration from the 1935 version with Randolph Scott, Helen Gahagan and Helen Mack.

Although Ursula Andress probably generated a lot of interest in this version, the big stand out is John Richardson.

Rosenda Monteros from "The Magnificent Seven" takes the place of Helen Mack as the less-exotic "other girl" of the triangle. It was probably an ethnic miscast (along with Christopher Lee playing an Egyptian priest) but she did well.

The difference between this version and the 1935 version was that Helen Gahagan depicted a much colder and much less desirable "she who must be obeyed", it wasn't that I didn't like Helen Gahagan's version of this woman, she actually pulled it off fairly well. But Ursula Andress was born to play this role, reflecting a stark contrast between her external beauty and her internal ugliness.

Between the two films the philosophy of "she" is identical: to rule by fear and terror.

And while the 1935 version shows some of this evil, being a Merian C Cooper production it reflected a lot of similarities to King Kong in actuality, but that film doesn't reflect the very dark streak that runs through the city ruled by this woman.

This 1965 hammer films version does great homage to the 1935 version, including some incredible and very large sets, not as large as the sets they built for the 1935 version, but still fairly large.

The ending of this version is a lot darker but it is not disappointing, except for the feet of one of the characters that you start becoming attached to. A lot of the dialogue toward the end of the film appears to have been lifted directly from the 1935 version.

But the thing that draws you into this version of the film is the incredible music written by James Bernard, which includes strains that are very reminiscent of the 1935 version.

Overall this is one of the very best hammer films I have ever seen, and this film was of course intended to be shown in cinemascope, I would love to be able to see it on a curved screen, there are some panoramic shots that reveal Cinemascopic photography.

Despite going all the way to Israel for the desert scenes, the first of Hammer's exotic adventures is overall rather talky and poky and sorely lacks the usual attractive rural locations around Bray.

Of interest for affording the chance to hear Ursula Andress's real voice, the most memorable feature is probably Hammer veteran James Bernard's score.

She is an enjoyable piece of Hammer fluff and that is all there is to say really. True movie fans of Hammer movies see the iconic stars Peter Cushing and Christopher Lee in roles and that makes this movie a treat to watch as they have a presence that gives a certain dignity to the movie. As the lead Ursula Andress shows why she was a sex symbol in the 60's as she is stunning and smoking hot to look at and her acting who cares she is not a thespian that is for Cushing and Lee to do she is to look sexy and alluring and she does that well. The cast does a good job with a good story but as with everything in life there are some shortcomings. One the sets looked cheap and the story one could see events coming because it lacked some intrigue but these are fine as many a movie has this problem but my biggest problem was the lead of John Richardson he may look like Ken come alive but he was so wooden I swear Woody Woodpecker was going to town on his acting skills he has no presence, read lines in a monotonous monotone fashioned and looked bored throughout. In addition his eyes look glazed during the entire movie like he was in a trance and he just awful. Despite this a fun and entertaining movie and critics may carp about many a thing but this movie is true popcorn and I for one like to be entertained I was and would recommend this movie to be seen.

I don't know if SHE was the most expensive film Hammer ever made but it sure looks like it. Of course it's not LAWRENCE OF ARABIA or ZULU but it does try to cash in on those two films at a fraction of their cost (and length). In addition to Ursula Andress in her prime (in fact "She Who Must Be Obeyed" is the role she was born to play), we get Hammer stalwarts Peter Cushing and Christopher Lee both giving really strong performances especially Cushing who is unlike any other character I've ever seen him play in a Hammer film.

John Richardson, who starred with Barbara Steele in the iconic BLACK SUNDAY back in 1960 and would be opposite Raquel Welch in ONE MILLION YEARS B. C. the following year, makes for a strong and attractive Leo Vincey. The different ending (from the book and other versions) gives the film a surprising poignancy you wouldn't expect.

H. Rider Haggard's novel of an ageless queen and a forgotten city has been filmed many times starting back in the silent era and as recently as 2001 but only this one and the 1935 RKO version have had any kind of staying power. Comparing the two is like comparing apples and oranges. One is in B&W, the other color, one is set in the Arctic, this one (like the book) is set in the desert. The '35 version has tremendous art deco sets, Nigel Bruce, and the legendary Gustav von Seyfertitz. Helen Gahagan was regal as SHE but Andress is exotic and very desirable.

While the settings here aren't nearly as lavish, they were influential and this version was a favorite of countless impressionable minds during the 1960s including future filmmakers George Lucas and Steven Spielberg. This Warner Archive edition stops short of a full restoration but the widescreen transfer allows us to see SHE in all its glory...For more reviews visit The Capsule Critic.

"She" is a Sunday afternoon adventure film. It's got all of the ingredients; cheap production values, a wafer-thin plot, the same bit of music replayed ad-nauseam, and Bernard Cribbins. It's also, unfortunately, not very good, simply because it's dull. Very dull. At a 1 hour and 41 minutes running time, "She" struggles to find a way to keep its story going, and barely succeeds.

The opening scene is good for a few laughs, featuring scientist/explorer type chappy Peter Cushing and his lovable manservant Bernie Cribbins (yup, that fabulous starring duo from "Daleks Invasion Earth: 2150 AD" is back), accompanied by some curly haired twerp played by John Richardson (no, I don't know who he is either), sitting down in a bustling bazaar somewhere in Africa in the year 1918, Cushing enjoying the native dancing girls to a rather amusing degree (cue a "By jove!" or two). Watched by a not-very-blacked-up actor, the three have a chat about what they want to do now that the war has ended. The observant shifty Arab wanders off and brings back a nice looking foreign gal, and soon enough one of our British heroes (John) is wandering over to make his acquaintance and spout some dire courting dialogue such as "A pretty girl like you shouldn't be left alone in a place like this," and "Ustane? The name is just as beautiful as you are..." Soon he's told to meet her at a street corner later that evening, and so the first stage in a treacherous trap is set.

Not that you'll have been paying attention to any of this as during their little conversation somebody told Peter Cushing to stand up and do some belly dancing with the girls (luckily, unlike them, he keeps his shirt on). He and Bernard Cribbins both prove themselves to be a couple of swingers for a short time before a punch up about a kicked in bowler that gets them thrown out.

I'd just like to stress this - Peter Cushing belly dancing. Peter Cushing. Belly dancing.

*gibber*

Anyway, after one of the scariest moments in a British film, the "plot" continues as John meets the girl and gets promptly knocked out by the shifty Arab who doesn't appear again. He awakes in a sumptuous looking pad and meets Ayesha (better known as She Who Must be Obeyed, but that doesn't sound as appealing, frankly). Now here we come to one of the problems about these sorts of films, where the plot hinges upon the fact that the leading lady is presented to be the most desirable woman in the world. It happens here, in Richard Burton's "Dr. Faustus", in any number of Ingrid Pitt lesbian vampire flicks. The trouble is, and this is of course down to personal taste, I don't find Ms. Andress particularly attractive. She's an OK looking gal, but I've never been one for the whole "Mysterious and alluring femme fatal" type, which means I can rarely communicate with the leading male characters who instantly fall in love with said femme fatal and are willing to give up everything to be with them forever. The same applies here. Maybe it's because John Richardson plays it so blank throughout, I don't know. But when he gets set a long journey across the desert to locate a forgotten city and instantly agrees before going for his fourth snog, I was getting a trifle cynical, sounding more or less as I do writing this review.

Fortunately we're soon back with Cushing and Cribbins, who *un*fortunately seem to do very little in this film - it's mainly concerned with the boring decisions of Richardson and the love triangle he gets himself into (not with Cribbins and Cushing, no, with She and serving girl Ustane - though the former would have made for a far more interesting feature at the very least). The journey, all mix n' fade shots of our intrepid/insipid travellers looking weary and swigging from water gourds, gets tedious quickly, and a quick assault from rifle waving desert chaps doesn't cause much of a stir either. I won't say too much more about the story, but you'll probably find yourself, as I did, guessing what events and problems will befall Cushing and the gang about five minutes before said events happen - and about 80% of the time you'll be right.

The cast have probably made this film more memorable than it should be. As well as Andress, Cushing and Cribbins, watch out for Christopher Lee in a rather small role as a high priest (and, just as in "The Mummy", he gets to wear another stupid hat during a ceremony), and Andre Morell (Watson in Hammer's "Hound of the Baskervilles). Actually, the presence of Morell provoked some amusement for me. I've got so used to the "Oh, that actor's in..." game that now I'm so sad as to be able to a) recognise a 50s/60s actor even when under make up, b) recognise said actor even when his voice has been dubbed by a *different* actor, and c) recognise the voice of the actor doing the dubbing! So, though Andre Morell, a terribly English actor, appears as the chief of a primitive tribe, it is not his plummy tones that emanate from his mouth but those of swarthy foreigner actor George Pastell, better known to us Doctor Who fans as madman and swarthy foreigner Eric Kleig from "Tomb of the Cybermen" (and as the fez wearing swarthy foreigner who brings "The Mummy" back to life in Hammer's earlier monster movie).

101 minutes goes by very slowly, with yet more swarthy foreigners and a certain very old flame, and you'll probably greet the final caption with a yawn and a stretching of limbs to combat rheumatism. "She" isn't a particularly bad film, but it's just boring. Even a showing of some top notch British talent can't save it. And nor can a belly dancing Peter Cushing.

4/10

Well, my expectations were not too high given that this is basically a Hammer film, which means a severely limited budget and production schedule - but I got disappointed in a positive sense because they sure got maximum mileage out of that budget. Sure, the sets look fake, but they have style and don't take us out of the story. The camel-back scenes were better than in "Lawrence of Arabia"! But what surprised me most was the capable acting; it's as much drama as adventure and so might easily have become cheesy or plain ridiculous - but with the sad exception of the "hero" (John Richardson, rather bland play) everyone gave their best; Cushing is excellent, Cribbins a nice sidekick (superb use of "They just don't make them like that anymore"), Lee fittingly secretive, Monteros adorable, and Andress completely otherworldly (congratulations to the make-up/costume department; light was also excellent) - she owns the screen in every scene she's in.

7/10 (might have been much better with a more capable male lead) - you can't kill a good story like "She" but in this case they managed much more than let it live!

She (1) (1965) -

I didn't really enjoy this film. It wasn't sooo bad, but it was definitely lacking a bit of pace and I thought that perhaps the time setting, revised from the original story, was a tad problematic. It seems to me that something about WWI (And later WWII) changed the world we had been living in, as if we grew up as a people or realised that we needed to advance as human beings and to stop warring or fighting over stupid things at all and that might have been where the technological revolution of the end of the last century came from. As such this fantasy story of the exploration of a lost civilisation just felt like it was set too late to be as believable, like they wouldn't have undertaken the trip without proper research or something? I don't know, but other films set pre 1900 - 'Journey To The Centre Of The Earth' (1959) for instance worked for me because the Victorian era was maybe a tad more naive and innocent.

I thought that was what was wrong about this one anyway.

The 3 leading fellas ventured in to the desert on a wild goose chase to find a city of myth and despite Leo's vision/invitation they were totally unprepared to find "She who must be obeyed" and her oppressed peoples and that was about as exciting as it got. There were a few scuffles here and there, but nothing that really grabbed my attention. I struggled to keep interest in it at all.

As for the actors, I've seen forests less wooden than John Richardson in his role of Leo and I didn't like his dyed blonde hair either. As he suffered through the sand and heat he was quite sexy in his vulnerable, sweaty and dirty state though.

The way he kept swapping between which girl he was kissing however, suggested that Leo was probably riddled with herpes and likely cooties too. Probably not someone to marry if you wanted a faithful husband.

Ayesha and poo-stain (Ustane) played by Ursula Andress and Rosenda Monteros (Respectively) weren't much cop with their performances as the romantic interests either.

Bernard (Cribbins) playing Job and Pete(r Cushing) as Holly were a bit typecast, but they weren't bad. I thought that Chris(topher Lee) played one of his better parts though in his character of Billali.

Other than that I would say that the composer obviously worked the trumpeters and percussionists hard, but someone should have supervised the other sound people because the dubbing was terrible, especially as they weren't even speaking a different language in the first place. There were clearly some scenes where the voices hadn't recorded properly and John in particular had needed to rerecord his lines, which didn't quite sync with the visual or the emotion he was delivering.

I won't say never again, but it will definitely be a while before I even contemplate seeing it for a second time and I doubt that I'll watch the sequel.

480.12/1000.

She is a very masculine film in the sense that it is ultimately a quest story, where three men set out on a journey to find a lost city which may not only have immense wealth but the key to immortality...oh, yeah and a partially clad Ursula Andress.

Leo played by a handsome young actor named John Richardson is targeted in an East African club by a beauty named Ustane. She lures him into the street where he is taken to this lovely home filled with luxuries and a beautiful woman named Ayesha (aka she who waits) played by the gorgeous Ursula. Leo was targeted because he resembles a long dead priest of Isis that this particular group wears on amulets around their necks.

Ayesha gives him a ring with hieroglyphs on it and tells him if he makes a long dangerous journey to return this ring to her, he will be granted all that he desires. He is given a map, but no other instructions. He convinces his two companions, Holly and Job, to come with him on his journey.

"Cross the dessert of lost souls and the mountains of the moon(or Amun), a treacherous journey...come to me and you will get all that you desire."-Ayesha

"He must survive the perils of the journey. I wait and pray that my waiting will be over."-Ayesha

It is a 100 mile journey south to the lost city of Kuma. When archeologist Holly examines the ring he determines it to have the insignia of the high priest of Isis who led a band of followers out into the desert where they were said to have died.

...first stop new clothes, camels, and digestive biscuits!

"Keep safe, my Leo"-Ustane

There was a little bit of humor in the film, generally around Job. "Cheer up, Job. Only 14 days more."-Holly

At the mountains of Amun they are set upon by Bedouin's on camels, they survive but have to shoot their way out. Leo gets shot in the arm and they loose their camels. Now on foot ...they are on the brink of dehydration and death when Ustane shows up with water and begs them not to go on. She says there is nothing but death and evil in the city of Cuma. At this point Leo starts dreaming of Ayesha and is determined to see the journey through.

Ayesha quite literally thinks he is calicrati, high priest of Isis reincarnated and for her part she tries to get him to remember his death 2000 years ago...men come and go, but she remains forever

"I am she who must be obeyed."

Again this is an odd and very masculine adventure flick with hand to hand combat, etc. Ayesha's feather crown and cloak were spectacular and it's worth seeing Ursula in them. I particularly liked that talons held the shoulders of the cloak, it was a nice detailed touch.

Feels very much like a b movie that would have been shown when I was a kid on Saturday morning tv in lieu of cartoons. Family friendly and adventure fantasy heavy. I did like the use of Egyptian details throughout the story...and the initial belly dancers (as a belly dancer myself).