lawgiver

Land of the Pharaohs is a fascinating, sometimes morbid glimpse into the Hollywoodized past. Unlike many epics, the film forsakes the usual Judeo-Christian perspective in favor of a completely pagan outlook. That, combined with some striking scenes involving the building of Khufu's pyramid, makes this worthwhile entertainment.

Over the years, many have criticized the film, including Howard Hawks, Hawkins and Collins. On close examination, their criticism of the dialogue is only partially justified. While there is some verbosity, and the discourse between Khufu and his first wife over his desire for a son seems unnecessary if not ridiculous(in this instance actions would speak louder than words)the dialogue is more than serviceable. During the funeral ritual for the heroic dead, the grand, evocative speech is even inspired.

Hawks also lamented that the film contained "no one to root for." Indeed, Hawkins' Pharaoh is decisive, infrequently warm and unquenchably greedy. As Princess Nellifer, Joan Collins is even more unsavory. There exists however, a necessary counterpoint in the character of Vashtar, who designs the pyramid in order to free his people. James Robertson Justice gives a sympathetic performance as the designer who is alternately good natured, thoughtful, and indignant at the pharaoh's cruelty. As the pharaohs advisor, Alexis Minotis manages a remarkable acting feat by enforcing Khufu's will and simultaneously evoking audience sympathy. As Vashtar's son, Dewey Martin's All-American boy persona is the only off key note.

Despite the generally capable acting, the film's chief attraction is the abundant spectacle. The thousands of workers toiling to build the pyramid, and the colorful court pageantry, are what linger most in the viewer's mind. The much-discussed ending may or may not be historically accurate, but is nevertheless filmed with a chilling sense of realism. In short, Land of the Pharaohs is an interesting thematic departure from the epics of the 1950s.

The Adventures of Robin Hood holds up remarkably well, perhaps because it focuses on the story elements which have had universal appeal throughout the centuries. Unlike the regrettable Robin Hood, Prince of Thieves, which tried to give the hero a ponderous psychological complexity, the 1938 film offers a fast paced examination of what is essentially a man of action.

The film is able to dispense with any lengthy exposition simply by portraying its characters in easily identifiable terms - either as valorous champion of liberty, or as hissable oppressor, with no room for grey shading. Although characterization is elementary, the purpose of the story is not; it was meant not only as a tonic for depression weary audiences, but as a warning to foreign despots who might try to disrupt the world stage.

Several elements in the film stand out: the breathtaking colour photography, spirited if not historically authentic battle scenes, and Korngold's vibrant score. What stands out the most, however, are the performances of a flawless cast. Errol Flynn, here at his physical peak, displays both effortless panache and a winning sincerity. In contrast, Rathbone's vicious Guy of Gisbourne is defined not only by his own sneering persona but by the manifold suffering he inflicts on the peasants. Alan Hale, Eugene Palette, and Herbert Mundin provide sturdy performances and comic moments, but possibly the best performance belongs to Claude Rains. His effete Prince John is a villain for all seasons. The bold, often broad performances are in keeping with the straightforward narrative.

The enchanting, storybook texture of the visuals, combined with vivid acting and action, is a welcome relief from some of today's jaded cinema.

Trivia Note: During the forest banquet, Flynn blows one of his lines. When talking to Maid Marian, he says "kindness instead of riches." According to the screenplay, it should be "kindness instead of whips."

Highlander features an intriguing premise that is largely defeated by mediocre scripting and an emphasis on flashy, obtrusive visuals. While the film contains several worthwhile moments, it never succeeds in being more than passable adventure fare.

Not surprisingly, Highlander is strongest when in the highlands, whether it is the battle between the Frasers and the Macleods or Connor Macleod's tutelage under the redoubtable Ramirez. Macleod's isolation from his people and the burdens inherent in his immortality are successfully conveyed, and the flashback transitions from New York to Scotland are smooth and imaginatively done.

The film goes awry, however, when grounded in the present. Apparently, Macleod has collected precious little wit or wisdom in his 400 plus years. His feeble jokes about his adversary cutting off his own head "in a fit of depression" and his crude remarks to his police tormentors are strange for a supposedly cultured immortal who deals in antiques. Likewise, he inexplicably stalks Brenda Wyatt, drops veiled references about his presen ce at a murder scene, and then chastises her when she follows him. Macleod has no opportunity to flex his intellectual muscles, since the cops pursuing him are merely loud and plodding, and clearly no match for him.

The Kurgan is menacing, but only insofar as any New York gutter thug is threatening - certainly not as a grand foe fighting for the ultimate prize. In his time on earth, he apparently never learns the value of social mobility, as he is presented as a glorified street thug who rooms in lowlife establishments.

The climactic title fight emphasizes exploding lights, various fireworks and all-encompassing blue light rather than the skill of the combatants. The nature of the prize is disappointing but not surprising, given the variable quality of writing in the film.

Lambert is quite adequate as Macleod, hinting at a sly wit he never has an opportunity to articulate. Roxanne Hart adds intensity to a limited role, while Connery has the best lines as Macleod's mentor. Overall, the film is well paced and sporadically exciting, but because of its wavering story and flawed characterizations, doomed to mediocrity.