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With looks that could kill, and a willingness to display her charms, Paget's sensuality leaves no doubt as to where her assets lay...

She plays a sultry-innocent 13th-century princess who rouses her people to save Egypt from the ambitions of a powerful Beduin (Michael Rennie) and joins her forces with the son of the Caliph of Baghdad (Jeffrey Hunter) to save her trembling throne... She also finds time to fulfill a great deal of exotic dancing... Her luscious legs make her hard to forget!

The emphasis is not on the plot, but on the visual pleasure of a great number of beautiful girls in sensual Technicolored costumes...

For the most part, I only enjoy the kind of movie that allows one to escape the current time into the future or past. This movie is pure escapism. The dancing starts almost immediately, and Debra Paget in her "purple harem" bikini dress simply has no equal in film in my opinion. Her dancing, while sultry, is surpassed by her dance in Fritz Lang's Tiger of Eschnapur, available on DVD, where she played the temple dancer Seetha.

One problem with the movie is the closed setting. There are few outdoor scenes shot, and they as well as other scenes are a bit claustrophobic. The same locations are used over and over again, but with some interesting secret passages and waterways. Her secret double identity is totally unbelievable with beauty of that magnitude. Debra even wields a sabre and holds 2 enemy soldiers at bay on a staircase, she could do it all.

What does work is Debra Paget as a princess. With her beauty, she certainly would be the center of attention anywhere at any time in history. This movie, when hopefully it becomes available on DVD, will be a must buy. Overall, taken with a bit of humor, I loved it.

Two of the best looking stars in Hollywood, Debra Paget and Jeffrey Hunter burn up the screen in "Princess of the Nile." It's not much of a movie, but if you love looking at God's most gorgeous, feast your eyes on these two! Technicolor never had it so good.

Miss Paget should have had a longer career. She appeared in some landmark films like "The Ten Commandments," "Love Me Tender," "White Feather," "Demetrius and the Gladiators," etc. Her ultra lewd dance in "Princess...Nile" is the most erotic in the history of films! At the same time, Jane Russell was also getting censored for her hip-shaking dance in "The French Line."

A pretty film with lead actors so beautiful, it almost hurts to look at them. Young Jeffrey Hunter and Debra Paget dazzle in this fun faux- Egyptian adventure/romance. Whether you are straight or gay, male or female, you should appreciate looking at them both.

This would be a great date movie (and I wish I could return to this time for just an evening to have a date to see it during its first run)- -it has adventure, romance, a quick-moving plot, and some comic relief. Dancing girls! Evil henchmen! Scimitar fights! What's not to like?

As another reviewer said, one of the problems with the the movie is the over-reliance on sets; it'd look even better with more outdoor scenes. In this way, it is of its time, and one of the few ways movies have improved is in use of outdoor and international settings.

Recommended. 6.5/10

More fabulous adventure than the tales of the Arabian Nights , more exciting than the travels of Marco Polo, more spectacular than the splendors of Kubla Khan. This wonderful Oriental adventure deals with the princess Shamar, Debra Paget , the flame that ignited Egypt . And well starred by those sensational new stars , Debra Paget and Jeffrey Hunter . It is set 1249 Egyt, where the son of the caliph of Baghdad , Jeffrey Hunter, arrives in order to keep peace and order, along the way he helps the beautiful princess to rid the Bedouin invaders led by Michael Rennie .Meanwhile , Shamar takes a double identity , both as a wealthy princess and disguising as an expert dancer, dancing at market place.

This is a typical oriental movie produced by 20th Century Fox with intrigue , fights , sword-crosses and colorful scenarios, though mostly shot in studios . The two sensational new young stars give passable interpretations. Debra Paget is marvelous as the gorgeous princess striving to gain her aims, to rid the Bedouin conquerors, as she practices her intriguing skills, both at the slums and at the royal court . Paget starred a lot of adventure movies for 20th Century Fox , outstanding her exotic beauty and dancing skills, such as : Bird of paradise, Anne of the Indians, Prince Valiant, Demetrius and the Gladiators, Omar Khayyam and the exceptional dyptic : Tiger of Snapur and The Indian tomb by Fritz Lang . While her partenaire Jeffrey Hunter as a brave hero is fine, but inferior to Paget. Support is frankly well , such as Michael Rennie, Jack Elam , Michael Ansara, Edgar Barrier as Shaman, Dona Drake and uncredited Lee Van Cleef.

It packs a colorful and brilliant cinematography in Technicolor by Lloyd Ahern Sr. , adding fastuous production design, though some of the sets were used from Demetrius and the gladiators. As well as an evocative and thrilling musical score by Lionel Newman. The motion picture was professionally directed by Harmon Jones. He was a producer , production manager, editor and filmmaker. As Harmon directed all kinds of genres, drama, thriller, Noir, Western, comedy . . such as : Wolf Larsen, The beast of Budapest, Gorilla at large, Target Zero, Canyon river, City of bad men, A day of fury , The silver whip , The pride of St Louis, As young as you feel, Bloodhounds of Broadway . He also directed several episodes from known TV series such as : Land of giants, Death valley, Voyage to the bottom of the sea, The Virginian , Perry Mason, Gunslinger, Daniel Boone , Iron horse, The Monroe, The Zorro, among others. Rating : acceptable and passable. Well worth watching. The flick will appeal to Debra Paget and Jeffrey Hunter fans

algernon4's comment that Ms Paget's "ultra lewd dance in (this film) is the most erotic in the history of films" is certainly one doozy of an exaggeration. It isn't even Debra Paget's most erotic dance. Her near nude gyrations in Fritz Lang's "The Indian Tomb" make this number look decidedly tame. As for being the most erotic in the history of dance. Well! Where do I start? Salma Hayek's performance as Santanico Pandemonium in "From Dusk to Dawn" (1996); Jamie Lee Curtis in "True Lies" (1994); Jessica Alba in "Sin City" (2005); Rose McGowan in "Terror Planet" (2007); Sheila Kelley in "Dancing at the Blue Iguana" (2000), blah, blah, blah.

Don't get me wrong. I love the sequence and have included it in my "Cheesecake Dance" series on Youtube. I just think that making a claim like "most erotic in the history of film" is really going out on a very fragile limb.

This is one of my favorite films for many reasons. To begin, there are standout performances from lovely Debra Paget as a princess/dancing girl, from Michael Rennie as the villain, handsome young Jeffrey Hunter investigating crime in her city/state and others. The film is an unusually colorful adventure, and we even see the princess rehearsing the dance she later performs (for once). She manages to skewer Hunter before she learns he is on her side; also the photography, the costumes by Travilla, Lionel Newman's music and the film's style are unusually fine. Add to this rousing action, intelligent characterization and fine direction by veteran Harmon Jones of a Gerald Drayson Adams' script set in 1249 AD, and you have the ingredients of an enjoyable Grecianized Near-Eastern. But there is much to praise about the unusual and well--developed storyline here, as there is much more to praise other than the film's swift pace, well-managed physical action sequences and superior technical aspects. Classically-trained actors such as Michael Ansara, Edgar Barrier, Wally Cassell, Jack Elam and Dona Drake are not commonly found in one "B" film together; nor are there fascinating sets, a variety of locales and a mystery of the quality that is supplied here. One way of assessing a film is, "If I were guaranteed to live through the experience, would I choose to undergo these events and perform these actions?" Since my answer is a resounding "yes" in this case, this film remains one of my choices as a favorite and very-underrated cinematic work. Could it be that US critics' all-too-frequent disdain for females as warriors and thinkers that as in so many other cases has caused closed minds to misprize this estimable film's obvious anti-tyranny and pro-entertainment qualities?

Not knowing beforehand what it was really about, I expected this to be the modest counterpart to Fox's big-budgeted THE Egyptian as DEMETRIUS AND THE GLADIATORS had been to THE ROBE (1953); curiously enough, I recently compared Universal's simple-minded view of the genre to Fox's more sober approach – but this proved to be very much in the former vein! Given the title, one would have thought the narrative would be dealing with Cleopatra (whose unhistorical off-spring the leading lady here, Debra Paget, actually played in the Italian peplum CLEOPATRA'S DAUGHTER {1960}!) or Nefertiti (which, apart from the more famous THE TEN COMMANDMENTS {1956; also featuring Paget}, Jeanne Crain – herself a former Fox star – tackled in another low-brow Italian production, QUEEN OF THE NILE {1961}, that I recently acquired and may very well check out either now or next month, when I intend to give tribute to another actor from that film, i.e. the great Vincent Price, on the 100th anniversary of his birth)! However, here we have Egypt in the throes of war with the Arab country of Bagdad(!), whose citizens include heir to the throne Jeffrey Hunter and rebel leader Michael Rennie – in this respect, the mish-mash of costumes is almost as incongruous as that in Universal's own YANKEE PASHA (yet another film emanating from this same year)! Even so, due to time constraints, I have had to discard all the other unwatched Arabian Nights romps at my disposal and concentrate on more historically or thematically relevant fare.

Anyway, the compact result (running just 71 minutes!) is colorful (though the muddy print I acquired left much to be desired!) light entertainment bordering on camp, what with Paget's Princess Shalimar doubling as a sultry dancer at a cabaret (years before Luis Bunuel dealt, altogether more subtly, with a similar if not identical ruse in BELLE DE JOUR {1967}!) – conveniently, the river Nile connects this haunt to the Palace itself! – though her intention is actually to gauge the people's opinion of her father's reign and uncover any possible conspiracies being hatched (yet Rennie does not recognize her immediately, while he and Hunter fall out over her 'earthy' charms)! Incidentally, the actress' sensual and scantily-clad gyrations must have caught the eye of Fritz Lang since he later memorably featured her – in more outré circumstances, I might add – in the second part of his famous "Indian Epic" (1958-9)!

Back to the plot: before long, Rennie – with the inside help of a wicked Shaman! – is fomenting trouble between the two countries (even if the killing of Hunter's aide is actually witnessed by Paget!), then offering himself as the Princess' suitor in order to bring them back together again! She and Hunter eventually fall in love (after the heroine has stabbed him in their first scene together!); the whole culminates in a clash between the two factions within the Palace walls, in which Rennie gets his come-uppance by being effectively impaled (in silhouette) inside a tent on a lance he had himself previously thrown to get at the hidden Paget! The supporting cast features gullible potentates, giggling handmaidens, comic relief acolytes…and Jack Elam as an Egyptian outlaw (by the way, the IMDb also lists Lee Van Cleef putting in an appearance here but I failed to recognize him!).

Princess Of The Nile is set in the 13th century AD and I always thought that the religion of ancient Egypt had died out by that time. But what we have here is that the city that Debra Paget is princess of on the Nile is still worshiping Isis while their Moslem conquerors are behaving pretty much as conquerors do.

The city's salvation just might be Jeffrey Hunter son of the Caliph of Bagdad making an inspection tour of the empire. The real rulers of the city are vizier Michael Rennie and shaman Edgar Barrier with a gang of assorted hooligans enjoying the spoils of conquest. Therein lies the plot of this desert potboiler.

The whole cast deserves a round of applause for mouthing this drivel dialog somewhat convincingly. You have a few players here like Rennie and Barrier who have classical backgrounds.

What they must have thought.

Even the Maria Montez/Jon Hall technicolored baubles of the '40s are eclipsed by "Princess of the Nile," Fox's entry in Hollywood's mid-'50s obsession with things Egyptian (see "Land of the Pharoahs," "Valley of the Kings," etc.) Pure, unadulterated, mindless hokum, lavishly produced (low-budgeted, actually, but using sets and costumes left over from "The Robe," this Technicolored spectacle looks like it cost millions). 71 minutes of eye-candy (the plot, having something to do with nefarious derrings-do in ancient Egypt, is beside the point) offers the cinematographer and audiences the delectable sight of Debra Paget wearing an assortment of see-thru veils, most of which hit the ground when she shakes and shimmies thru a slave-girl production number unparalleled in film history. Female moviegoers were not shortchanged: Fox's handsomest young contract player, Jeffrey Hunter, is as photogenic as Ms. Paget, while Michael Rennie lurks around in the background, stirring up evil doings in the land of the pyramids. For those who might think Paget & Hunter can't act and were only hired for their physical attributes, check out their subtle, overlooked, heartbreaking work together a few years later in "White Feather" (another Fox production that has sadly vanished into the realm of "lost films"). "Princess of the Nile" still stands in a class by itself as a cheerfully mindless, breathlessly fast-paced, dazzling testament to the glories of 3-strip Technicolor--and the seductive charms of Ms. Paget (all of 20 at the time). Put this one-of-a-kind kitsch classic at the top of your "guilty pleasures" list, and enjoy. Satisfaction guaranteed!

The 20th Century Fox studio have finally bowed to public demand & released "Princess Of The Nile" on DVD. Nobody can, hand on heart, pretend that it is a great movie but it is a triumph for the innovation of glorious technicolor. Playing the title role Debra Paget, then aged just 20, was just about as beautiful as any young lady can possibly be. Dressed in an array of diaphanous costumes she looks utterly fabulous &, even if she was not that much of an actress, her erotic dancing is as breathtaking as her looks. For the ladies, Fox studio have co-starred the handsomest of their leading young actors Jeffrey Hunter as Prince Haidi. Nobody is going to include POTN in their list of top ten movies but, crikey, I never saw a vision of loveliness the equal of young Debra Paget in this movie. She takes the phrase "eye candy" to a whole new level & I guarantee that anyone who buys it will not be disappointed.

I watched Princess of the Nile for the first time when I was about 10 years old. I am 63 now and have never forgotten the movie. Nor have I gotten over my fascination with Egypt. I have searched the internet trying to buy the movie, but have not been able to locate it. It makes me wonder if this is one of the lost movies in Hollywood. I loved Debra Padget and Jeffrey Hunter together. They have such charisma together. If you were to ask me anything about the movie I could not tell you anything other than who was in it. I vaguely remember a scene by the Nile with Debra Padget a bunch of other women.I have always wanted to see it again. I never thought of it as an escape movie back then, but I can see now where that was probably the case. I do hope they will put it on DVD and I will be able to see it again before I die. It was a wonderful movie.

I first saw this movie as a Saturday

Matinee, at the Crest Theater in Portland,

OR. I adored it -- it had the

incomparable Debra Paget doing her

patented hip-wiggling Exotic Maiden role,

evil villains, secret passages, secret

identities, 50's-style exotic scenery and

costumes -- the works. I'd love to have

it on video, but as a hootch-cootchy

adventure flick it's not likely to be

available soon, if at all. What a shame!

Main point first: Debra Paget is breathtakingly beautiful, and in many scenes she displays a confident sensuality which the viewer--may I say, particularly the male viewer--will not soon forget. She is an excellent dancer; sure, there were many fine dancers in other 1950's films; but few if any other dancers in American 1950's films can equal the sensuality that Debra shows here.

OK, that said, the movie also has action, humor, sword fights, vibrant color, and a good, fast pace. This one is a lot of fun.

An absolutely amazing cast (Lee Van Cleef! Jack Elam!) enlivens this utterly preposterous yarn which passes off an Egyptian Hareem that's straight out of Minsky's (down to a few blondes and red heads).

Paget is both lovely and acrobatic, handling action sequences charmingly. Hunter is a stiff. And who knew Michael Rennie fenced left handed?

This film has recently been seen in criculation on AMC, and it's worth catching. The technicolor production design combines with the two-dimensional characters to create the effect of a Prince Valient comic on celuloid. But the appaling acting, ham-fisted dialog and cardboard sets only enhance the film's charm.

And also starring Jeffrey Hall or Jon Hunter. I mean this beautiful and convincing sword and sandal made in Hollywood for Twentieth Century Fox during this fifties decade is the perfect heir of Maria Montez and Jon Hall from the forties and produced by Universal studios. Far better than for instance also Hollywood ESTHER AND THE KING or even SERPENT OF THE NILE, more or less the same kind of topic. I don't even speak of Italian industry sword and sandals of the early sixties. This one takes place entirely, or nearly, inside the palace walls. It is not CLEOPATRA, LAND OF THE PHARAOHS, DEMETRIUS AND THE GLADIATORS nor BEN HUR either, because of a small bUdget, but the cast and production design is enchanting, and the cast convincing, with a delightful Michael Rennie as the villain. Good stuff, one of the best cheap sword and sandal Hollywood film, I speak of those wIthout hundreds, if not thousands, of extras;