The Loves of Pharaoh (1922)

Sorry, this movie sucks

I don't have all the words right now but this film is a work of art.

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

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).

The fabulous restoration of this film alone makes it worth viewing. The pictures are glossy and luscious as to be almost magical. It makes you realize that even though the movies were still silent in the 1920's, the quality of the film was first rate.Also extremely noteworthy of the version recently shown on TCM is the spectacular orchestral score, really one of the best. Try to actively listen to the music if you can from time to time - especially in the late battle scenes, it is worthy of Wagner.The sets are over the top, and the cast begins as a cast of dozens, then scores, then hundreds, and then literally thousands as the climactic battle scenes are reached. The Germans really outdid themselves here, easily matching the Hollywood spectacles of the same era. With great skill, director Ernst Lubitcsh was able to interweave outlandish spectacle with a lot of close-up tragedy, perhaps having learned this technique from watching D.W. Griffith fliks.Unfortunately, the exaggerated emotive acting is a little painful to watch at times. This is the kind of over-acting histrionics that would be mocked by some for many years after the advent of sound.The plot occasionally borders a bit on the unbelievable as well. I think the silliest thing was when, early in the film, the pharaoh is about to sign a peace treaty with the Ethiopians, when suddenly he is informed that someone is "approaching" the Treasury! In great shock, the king abandons the ceremony to deal with this incredible event personally! This would be like President Roosevelt walking out on the Yalta Conference in order to deal with a dog that had piddled in Lafayette Park across the street from the White House. Silly indeed.The actor playing the hero "Ramphes" may also have the ugliest haircut in the history of serious film.But these are minor distractions. "The Loves of Pharaoh" is art, and it is movie history, and the glorious restoration makes it well worth viewing.

As he is erecting a new treasury building in ancient Egypt, iron-fisted Pharaoh Emil Jannings (as Amenes) receives an offer of a pact with wild-haired rival Paul Wegener (as Samlak). The Ethiopian king brings along his desirable light-skinned daughter to offer as a wife for Mr. Jannings. Instead, Jannings is smitten with demure Greek slave girl Dagny Servaes (as Theonis), who has escaped from Mr. Wegener and his jealous daughter Lyda Salmonova (as Makeda). Later, Jannings catches Ms. Servaes smooching with stout Harry Liedtke (as Ramphis), the treasury building worker who snatched her off the shores of the river Nile...Jannings is so madly in love with Servaes, he spares Mr. Liedtke a death sentence in order to win Servaes' hand. You can safely predict Liedtke seeks out his lost lover. Meanwhile, Wegener is miffed at Jannings for rejecting his daughter and understandably irate when he discovers their missing Greek slave girl has taken her place in the palace. You can safely predict this means war...This silent epic led Ernst Lubitsch's entry into Hollywood, where his films, particularly those with Pola Negri, were wildly popular. The director had a stunningly successful career. Partly preserved silent films by renowned directors are often declared lost masterpieces. Like many, this film does not live up to those lofty description, but it is still an excellent spectacle. It's also incredibly restored. There are reportedly only about ten minutes missing, with stills and title cards filling in the blanks. The bulk of the film appears to have been digitally restored to pristine condition, by Thomas Bakels and his crew. Art/set direction is outstanding.******* Das Weib des Pharao (2/21/22) Ernst Lubitsch ~ Emil Jannings, Dagny Servaes, Harry Liedtke, Paul Wegener

"Das Weib Des Pharao" (1922) has been one of the most anticipated silent film restorations released in this modernen year. September saw the long awaited premiere of the film which was superbly restored thanks to the efforts of different European institutions. This little known Herr Ernst Lubitsch movie of his German period is now available to the joy of silent film fans around the world. "Das Weib Des Pharao" was the last film directed by Herr Lubitsch before he departed to Amerika where his career was very different in terms of artistic style and goals. Certainly "Das Weib Des Pharao" is characteristic of his work during his Teutonic epoch.First of all, the film is "kolossal": magnificent décors, lavish and gorgeous costumes, crowd scenes astonishing in the number of extras employed. This huge production and Herr Lubitsch's mastery transports the audience back to ancient Egypt.But "Das Weib Des Pharao", spectacular art direction and staging notwithstanding, is also a tormented love story, intimate and nuanced and combining seamlessly with the more spectacular dimension of the plot, the war between the king of Ethiopia Herr Samlak ( Herr Paul Wegener ) and the pharaoh Herr Amenes ( Herr Emil Jannings ). The conflict begins when the king of Ethiopia invades Egypt because his daughter, Frau Makeda ( Frau Lyda Salmonova ) has been rejected by Herr Amenes due to his infatuation with Frau Theonis (Frau Dagny Servaies), namely slave of Frau Makeda. To complicate matters, Theonis is in love with Herr Ramphis (Herr Harry Liedtke). Theonis, against her will, becomes the Queen of Egypt. Tragedy follows for all.This Herr Von was absolutely fascinated during the scenes between the pharaoh Amenes and the beautiful slave Theonis; Jannings' restrained performance shows all the pain and longing of unrequited love as he vainly tries to win her favour. Some of the scenes are in lovely chiaroscuro; the cinematography by Herr Alfred Hansen und Herr Theodor Sparkhul is brilliant."Das Weib Des Pharao" is for this German count a very special Lubistch oeuvre, combining the characteristics of a "kolossal" picture with intimate melodrama. None of the Lubitsch wit is on hand and there is certainly no humor in the film to lighten the story. It remains serious all the way through and is without concessions, making it a very unique Lubitsch film whose rediscovery is a great gift to lovers of the Silent Era. And now, if you'll allow me, I must temporarily take my leave because this German Count has an appointment with his beautiful Teutonic slave instead of one of his fat German heiresses.