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She (I) (1965)

Unrated  |   |  Adventure, Fantasy  |  18 April 1965 (UK)
5.8
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Ratings: 5.8/10 from 1,874 users  
Reviews: 44 user | 16 critic

An Edwardian archaeologist and two companions stumble upon a lost city in East Africa, run by a beautiful queen whose love holds the promise of immortality.

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Title: She (1965)

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Cast

Complete credited cast:
...
...
...
Job
...
Rosenda Monteros ...
...
...
Haumeid (as Andre Morell)
Princess Soraya ...
Night Club Dancer (as Soraya)
Julie Mendez ...
Night Club Dancer
Lisa Peake ...
Night Club Dancer
John Maxim ...
Guard Captain
Cherry Larman ...
Handmaiden
Bula Coleman ...
Handmaiden
Oo-Bla-Da Dancers ...
Native Dancers
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Storyline

After doing military service in the Middle East, British archaeologist Holly, his valet and his handsome young friend Leo are spotted in Palestine and approached by a mysterious oriental who identified Leo by his uncanny likeness to the portrait on an ancient coin. An adventurous search for the lost Pharaonic city of Kuma proceeds relying on a recently-acquired map. Their hasty mini-expedition reaches a hidden city where the Hellenistic age is still alive. It is ruled by the supernatural Ayesha, 'She who must be obeyed', who believes Leo is is the reincarnation she waited for all those centuries of Callicrates, a companion of Alexander the Great. She offers him immortality and to share the throne as her eternal love, but it goes tragically wrong... Written by KGF Vissers

Plot Summary | Add Synopsis

Taglines:

SHE who must be obeyed! ...SHE who must be loved! ...SHE who must be possessed! See more »

Genres:

Adventure | Fantasy

Certificate:

Unrated | See all certifications »
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Details

Country:

Language:

Release Date:

18 April 1965 (UK)  »

Also Known As:

A Deusa da Cidade Perdida  »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

(RCA Sound Recording)

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

For the final stage of Ayesha's disintegration, makeup was not applied to Ursula Andress, but to an uncredited elderly actress who doubled for the star. See more »

Goofs

During the gunfight in the desert, the same Arab, wearing a striped dark red top and white pants, is shot from his mount three separate times. See more »

Quotes

Maj. Horace Holly: Will you tell me something? This women Ayesha, why do you all do her bidding without question?
Billali: It has always been so.
Maj. Horace Holly: Yes, but why? She's only a woman and alone. You are men and many.
Billali: And like all men we are born, live a span and we die. But she has been here forever. She is like the mountains, like the desert. Changeless, ageless, deathless.
Maj. Horace Holly: That I cannot believe. In your fear you have accepted the impossible as truth. No-one lives forever. And no one was born to be the vassel of another. You ...
[...]
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User Reviews

 
She Who Waits
5 January 2008 | by (London, England) – See all my reviews

Hammer's 1965 version of She can't match Merian C. Cooper's 1935 version for spectacle but it's still rather more handsomely mounted than you'd expect from the studio: location shooting, numerous sets and more extras than usual even if these descendants of Ancient Egyptians seem to have an army consisting of Roman legionaries. The most commercially successful adaptation of 'the famous novel by H. Rider Haggard' (as the credits bill it), even inspiring a dreary sequel, The Vengeance of She, it's also surprisingly good, with rather more substance than you might expect.

Played partially as an old-fashioned adventure with far more action than any other version, the story is updated to post-WW1 Palestine, its explorers (Peter Cushing, John Richardson and mild comic relief Bernard Cribbins) now reimagined as demobbed soldiers uprooted by the war. "She who waits" is introduced into the picture surprisingly early and long before they reach her domain – here it is Ayesha herself who urges Leo to make the hazardous journey to prove that he is the reincarnation of her lost love. The second half makes more of the battle for Leo's soul, with more of an argument made against the temptations of eternal youth than in other versions, and the film goes to much darker places than its predecessors: this time Leo is lost long before the blue flame appears, and the end remarkably bleak. Being Hammer it also ups the sadism, not only in a mass execution of chained slaves but in the manner in which one character is 'returned' to their family.

With Haggard's novel touching on the worship of beauty and youth above character or even basic humanity (She is so in thrall to her image of a lover that she blames herself for his infidelity) it's actually rather fitting that both leads are dubbed: Ursula Andress because of her thick accent – but then, no-one ever cast her for her voice - and John Richardson because, well, with his zombie-like vocal delivery that made him the Clive Owen of his day, acting never was his forte as long as he had the looks to get away with not having to. It's left to the bearded Peter Cushing's Holly to provide the weight of authority and make the case for growing old gracefully, which he does with effortless professionalism, while Christopher Lee's ambitious high priest Bilali is a far more interesting and less blindly devoted character here, adding another layer of moral decay to the crumbling kingdom. The production design makes a virtue of its relative economy, Kumar past its prime and on the edge of rebellion, the lost city itself long crumbled and the kingdom retreated into the very mountains, though the fact that the sets are smaller than they look and shot with long lenses to look larger is occasionally given away by distortion in some of the panning shots thanks to the still far from perfected Scope lenses. The special effects, though not always photo-realistic, are rather good in their old-fashioned way while James Bernard's score features a particularly memorable desert trek theme. All in all, one of Hammer's finer hours, and still highly enjoyable.


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