L'égyptien

Maybe it's just a personal affection for this screen version of the Mika Waltari novel, or a fondness for things Egyptian (I grew up loving to visit the mummies in Boston's Museum of Fine Arts) but I think this is a rather good film. The production values are great regarding color and cinematography, and it appears some effort went into historical authenticity (much of it from the novel, I'm sure).

Purdom is admittedly a bit stiff in the lead role, but one can accept this as part of Sinuhe's character. Victor Mature is, well, Victor Mature. Peter Ustinov is a delight to watch here , in the type of role which he always did so well and so wittily. Bella Darvi's performance as Nefer is classically camp, and I find even Michael Wilding's rather dry portrayal of Akhenaten to have its own appeal.

The historical oddity of Akhenaten's monotheism, a brief detour in ancient Egypt's history, is interesting, as is Akhenaten himself, and well worth reading about; the religious wars portrayed here have a basis in fact.

An interesting footnote regarding Darvi, whose birth name was Bayla Wegier: she was a Polish émigré who producer Darryl Zanuck and his wife Virginia took under their wing (I believe they may even have adopted her). Her screen name Darvi is formed from Zannuck's and his wife's first names. She continued her acting career in France, but never achieved great success and, after a rather unhappy life, died at her own hand in 1971.

Altogether this is an interesting film and enjoyable to watch both for the visual values and for the history. Turner Classic Movies shows this in letterbox, which is essential to capturing the scope and sweep of the story.

Few people realize it, but there was world literature in the ancient world before the Greeks came on the scene. Besides the literary remains that are in the "Old Testament" of the Jews, there were considerable works from Mesopotamia and Egypt. The summit of the former were the religious poetry and "The Epic Of Gilgamesh". The Egyptians produced many poems, but there main addition was a tale of adventure of a traveler and physician called "The Story Of Sinuhe". It is from this work (actually a fragment, that we don't know the ending of) that the novel "The Egyptian" came from.

The story is unique (as is the movie). "The Egyptian" was a best seller in the early 1950s, and Darryl Zanuck decided to take a chance making it: yes he wanted a showcase for his girlfriend Bella Darvi as Nefer, as well as the rest of the cast (Victor Mature, Edmund Purdom, Peter Ustinov, Michael Wilding, and Gene Tierney), but he was aware that these films rarely made large box office. One can chalk up this as an example of Zanuck trying something different.

The number of movies that deal with ancient Egypt are very small. "Land Of The Pharoahs", "The Egyptian", "The Ten Commandments" (both De Mille versions), "Moses", "Holy Moses!", "Cleopatra", "The Mummy" (all versions), "The Scorpion King". If there are 20 films about ancient Egypt it's is tremendous. But "The Egyptian" is unique. While the second "Ten Commandments" discusses Ramses the Great (Pharoah Ramses II - Yul Brynner) and his father Seti I (Cedric Hardwicke), and the films on Cleopatra deal with her, few other names of ancient Egypt crop up in film. Egypt's greatest Pharoah was Thutmose III, who conquered most of the known middle east of the era of 1470 B.C.E. or so. No film about him has appeared, nor of his usurping predecessor, history's first great female ruler Hatschepsut. But the only known Pharoah who attempted a religious revolution that approached what the Jews (and later the Christians) attempted - a type of monotheism - is the subject of "The Egyptian". This is Pharoah Akhnaton.

In reality Akhnaton was practicing a personal form of monotheism that was not meant for public consumption. But it angered the priestly class who worshiped Amon, rather than Aton. Due to our uncertain historic records (although Akhnaton's official records - the "Tel-el-Amana" letters - are quite complete as far as they survive), we do not know if the Pharoah was killed in a palace coup or not. However he died, he was succeeded by a young brother or son of his whose name is better recalled than any other Pharoah except Ramses: Tutankhamon.

This film is actually quite good as far as it goes. Wilding makes a good natured Akhnaton, who is too weak to be as effective as a religious reformer is supposed to be. Mature is good as the ambitious (and - outside the film - ultimately successful future Pharoah) Horemheb. Tierney and Purdom do well in their lead parts and Ustinov is good as Purdom's friend. Also good is Ms Darvi, in a large supporting part. In a wonderful cameo is John Carridine, as a philosophical grave robber. The film is certainly worthy of viewing, as one of the few attempts to show part of the history and culture of Ancient Egypt.

It happens often, while growing up, a Hollywood movie impresses a youth. It not only lasts a lifetime, but inspire him to study ancient cultures as a career. Such was the case, with the 1954 film entitled "The Egyptian." Audience were awed with the sets, costumes and great acting of this film, so much so, other films soon followed in like vain. This is the story of a young Egyptian boy who was left parent less soon after he was born. With such a dubious beginning, it is not hard to wonder why he will spend his life, asking questions. The boy Sinuhe, (Sin-oh-way) which means, 'He that is alone'(Edmund Purdom) grows to manhood and continues asking why, even as he graduates from The School Of Life to become a physician. During his formative years he acquires a lifelong friend named Kaptah brilliantly played by (Peter Ustinov), and Horemheb (Victor Mature) who raises from a simple officer of the guard to Commander of the Armies. His life offers everything from a quick rise in social status to condemned criminal, to outcast, a wondering healer, and eventually to a station in life he never expected. Fine acting goes to Jean Simmons as Merit, Michael Wilding as Akhnaton, Bella Darvi as the temptress, Nefer, and John Carradine as a memorable Grave robber. Tommy Rettig, plays Thoth, the son of the Egyptian. In his final years, 'He that is alone,' finally discovers the answer he had been seeking all his life, which he bequeathes to his son, now in the care of his lifelong friend. Excellent Film! ****

Waltari's impressive historical fictional work,"The Egyptian",is a long,well-thought out,well-researched,throughly planned piece of good writing.It covers a period of about 60 years in the life of Sinhue,the narrator,and describes his life,adventures,travels,and spiritual and emotional growth in careful detail.This film adaptation covers about 20% of the original,and as a consequence,looses a lot in the telling.The technical aspects are so impressive as to warrant a Ph.D. for their efforts.And,as for acting,Tierney,Ustinov,Wilding,Simmons,Daniell,and Carradine lead a strong supporting cast.(I especially enjoyed Carradine's cameo as the philosophical grave robber,with his Nitzschean interpretation on the futility of life.He told it the way it was.)Costumes,sets,props,etc. were superb.They should have been-they spent 5 years doing the research.And Purdom was a worthy replacement for Brando in the title part.Let's face it-the film was bound to disappoint anyone who wanted the original story.I don't feel qualified to comment on Darvi's portrayal.And Could anyone else BUT Mature have carried off Horemheb?My biggest criticism comes to the pacing.It does drag.But watch it for a well-done,thoughtful epic.

"The Egyptian" has several pluses that make up for a rather slow pace. There is plenty to the story, which involves a lot of action as well as some interesting themes, and there is a lot of good scenery and cinematography. Most of the cast is pretty good, and there is an assortment of interesting characters.

The setting in ancient Egypt works well and is used to good effect. It makes for many interesting sights, which are filmed nicely and used well in the story. The plot does a good job of weaving the reign of Pharaoh Akhenaten, who tried to bring monotheism to Egypt, into the lives of the main characters. As the central character, Edmund Purdom is all right, but some of the other characters often command more attention. Victor Mature is particularly convincing as the no-nonsense Horemheb, and Peter Ustinov steals more than one scene as Purdom's assistant.

The only real flaw is the length. While there is plenty to the story, there are times when it moves quite slowly, and it doesn't seem as if it would have been all that hard to shorten some of the scenes. In particular, some of the speeches that summarize the conflict of ideas among the characters would have been more effective if they had not been quite so wordy.

But overall, this is a good movie, and it works pretty well both as a period piece and as a story.