This is How Movies Should Be Made

If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

Amazing worth wacthing. So good. Biased but well made with many good points.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

"Das Weib des Pharao" or "The Loves of Pharaoh" is a German movie from 1922, so this one will soon have its 100th anniversary already, only slightly over five years to go. The director is early German filmmaking legend Ernst Lubitsch and he was around the age of 30 when he made this one, long before his Hollywood success. The writers are Norbert Falk and Lubitsch's longtime collaborator Hanns Kräly (later an Oscar winner even, something Lubitsch himself never achieved). But back to this one here. Given the year, it should not be a surprise to anybody that this 100-minute movie is a black-and-white silent film. And as with some other early films from Germany, it takes us into a world and culture that is fairly different compared to ours, especially compared to the fairly bleak years between World War I and the Nazis' rise to power here in Germany.Egypt is the center of the action here and like with many other early silent films, it is a mix of drama, costumes and romance as well. Horror is non-existent in here and neither is comedy. The cast includes a handful of fairly successful silent film actors from back then, not just Emil Jannings, but also Harry Liedtke and Paul Wegener for example and if you have an interest in German movies from that time, then you will see more than just one or two familiar faces. I myself have never been that big really on these very old silent films and sadly this one here cannot change my perception. As many other times, I also felt that it lacks intertitles on many occasions, so that the actual story is fairly difficult to follow at times and the plot not too easy to understand. Still, if you like the genre more than I do and maybe even care about films set in ancient Egypt, then this can be a pretty rewarding watch for your and I would not totally say that I don't recommend it to anybody. However, if this description does not fit you, then maybe it is best to stay away or check out comes other silent films from the 1920s first (more known ones like "Metropolis" or other Fritz Lang works) before deciding to give this one a go. I give it a thumbs-down.

Massive and brilliant restoration of this once-lost film is cause to celebrate. This 1922 epic directed by Ernst Lubitsch boasts massive Egyptian sets, great costumes, a brilliant music score and several great performances.Twisting plot entwines the lives of Pharoah Amenes (Emil Jannings), a Greek slave girl Theonis (Dagny Servaes), a hero Ramphis (Harry Liedtke), and a vicious Ethiopian king (Paul Wegener).After Ramphis steals Theonis from the Ethiopian princess (Lyda Salmonova)and returns to Egypt, the Pharaoh spies her and instantly falls in love. But he's already promised to return the slave girl to the Ethiopian king. Pharaoh takes the woman, but she loves Ramphis. After the lovers are caught in the treasury, Pharaoh condemns Ramphis to slave work in the quarries. But Pharaoh does not return Theonis, so the Ethiopians start a war.Before he goes off to war, Pharaoh walls up Theonis in the treasury and blinds the architect (Albert Bassermann) so no one will find the entrance. Amenes is presumed killed in battle and Theonis, technically Queen of Egypt gets to pick a new Pharaoh and she picks Ramphis. But Amenes is not dead and soon returns to Egypt to find a new Pharaoh installed.Serpentine plot keeps the viewer guessing as the main characters are all bound up in various promises and oaths and star-crossed loves, and no one gets what he wants.Emil Jannings and Dagny Servaes are terrific. While the rest of the cast overacts, it seems fitting for such a sprawling story set against massive Egyptian sets.The restoration of this film ranks among the great restoration projects, and the final result, despite some missing sections, is absolutely amazing. Well worth looking for.

The Loves of Pharaoh (1922) *** (out of 4)Imressive German epic from Ernst Lubitsch about the war that breaks out when an Ethiopian King (Paul Wegener) offers his daughter to a Pharaoh (Emil Jannings) but she then falls his love with one of his servants. THE LOVES OF PHARAOH is a very impressive silent thanks in large part to the wonderful visuals and mammoth sets, which certainly make this rank right up there with the work that D.W. Griffith and Cecil B. DeMille were doing around this same time. I think the most impressive thing is how massive the sets are and how many extras were used during the battle sequences. There are some moments here that make you want to pause the film just so you can get a better look of everything that's going on. The greatest sequence comes towards the end of the picture when we see a giant hill where the camera is pointing straight at it. The action then starts and you see hundreds of people at the bottom of the hill fighting with hundreds more coming from over the hill, down in and into the battle. These scenes are just so big that you can't help but wonder how long it must have taken just to get one shot. The performances are another major plus with Jannings doing an excellent job with the villain. I thought he was extremely believable in the part and he never goes overboard with his madness. I also really enjoyed seeing Wegener here as the "look" from THE GOLEM is still here. Lubitsch does a masterful job at building up all the action but I think the film's one flaw is the screenplay. I never really cared about any of the characters and I found the story to be a tad bit too dull for its own good. Several portions of the film are still missing so photos are put in the missing segments place.

TCM presented a beautiful print of Ernst Lubitsch's Egyptian epic THE LOVES OF PHAROAH (1922). Released by Paramount in the US, the film was Lubitsch's last feature in his home country of Germany before setting up camp in Hollywood. (That's another story all together.) The "Lubitsch Touch" in his historically-based epics, such as CARMEN, MADAME DUBARRY, SUMURUN, or ANNA BOLEYN, is the director's ability to present us with the overwhelming sight of the plight of the crowd and then gradually direct our attention to a personal drama taking place within the epic sweep of time and destiny. (He does so more genuinely than DeMille, who seemed to have imitated this approach.) Then, of course,there are the sexual situations, the uncontrollable attractions, and the inevitable rejections that determine the fates of the characters, a theme continued into the director's sophisticated comedies and, later, witty musicals that followed this film. LOVES OF PHAROAH has stunning visual moments both large and small: the crowds working, revolting, being manipulated by rulers to the turning of Emil Jannings to a wall and dropping an outstretched hand, showing his reluctant realization of the futility of his affections. The film is deliberately paced but never draggy. Though there are moments of regret (the depiction of the Ethiopians is particularly stereotyped and inconsistent), this foray into Arabian exotica is a dramatic improvement over the stilted presentations seen in SUMURUN from a couple of years before. With THE LOVES OF PHAROAH, Lubitsch reaches the apex of his epic years (though THE PATRIOT may have reached greater heights, though we'll never know until a print is found).