She (I) (1965) User Reviews

Solid Hammer-esquire Rendition of an Excellent Book

[fung0 · 7/10 · 3 April 2007]

H. Rider Haggard's "She" is a book that transcends its original intent. It's a great African adventure yarn, to be sure... but Haggard out-did his usual fare in this case, hitting a particularly resonant chord with his vivid archetypal image of the Eternal Female.

This particular film rendition similarly out-does the usual Hammer horror fare. The story is faithfully adapted from the book, with only the sort of changes that are inevitably needed to squeeze hundreds of pages of text onto less than two hours of celluloid. With no special effects or CGI to distract, Haggard's original plot remains the chief attraction, and what a great Saturday-afternoon adventure it is! Lost cities in Africa... a mysterious queen... the secret of immortality... these elements have been combined many times, but rarely any better than they are here.

Christopher Lee and Peter Cushing are solid actors, and give two otherwise conventional roles a delightful extra spin. But the real surprise is Ursula Andress, who seems to have been perfectly directed: she avoids stretching her limited talents, and concentrates on looking regal and mysterious. The costume design helps; I'm not a big fan of Ms Andress' charms, but I find the image of her in that golden-feathered headdress quite unforgettable.

A word also about the music. The four-note fanfare that announces the arrival in the hidden land is absolutely perfect. No lost-civilization film should be made without it.

I keep hoping that some director equipped with both budget and talent one day delivers the screen version that "She" really deserves. But until then, this one will do very nicely.

SHE who must be underrated!

[bumbledown08 · 6/10 · 7 January 2010]

I'm not sure why everyone dislikes this film. It not only looks absolutely fantastic for a Hammer film, but also features some fantastic performances by some some of Hammer's best actors(and some who aren't Hammer actors). Some of the amazing performances come from the always excellent Peter Cushing, the(finally)newly knighted Christopher Lee, the great Bernard Cribbins and in her first(and last) Hammer film, the gorgeous Ursula Andress as SHE herself. This film is also wonderfully directed by another one-off Hammer director, Robert Day. However this film does have some low points as well. Some of the plot threads are a little silly and some of the later scenes are very repetitive. By no means the best Hammer film, but no where near the worst.

A middling fantasy-adventure with a gorgeous leading lady

[Red-Barracuda · 6/10 · 3 February 2011]

This Hammer production is a fantasy-adventure film. After a brief encounter with a beautiful mysterious woman, a group of adventurers set off to find a lost city in remote Palestine in which she claims to rule. It turns out that she is an immortal being, and one of the party is a reincarnation of her long-lost love. The men subsequently find the lost city and encounter at first-hand She Who Must Be Obeyed…

Despite the presence of a number of Hammer regulars, this is essentially an Ursula Andress vehicle. She was just off the back of her iconic sea-emerging moment from Dr No and was clearly hot property at this time. Not the most gifted or charismatic actress, Andress is never-the-less a very beautiful woman, and therefore looks the part in this role. She is kitted out with an array of fabulous flowing gowns and ornamental head-dresses. And seeing as she is very much the main selling point of the film, it's important to note that she is certainly very aesthetically pleasing. The story itself is very much by-the-numbers, and not especially interesting but is merely a means to an end. Namely an excuse to introduce Ursula in regal attire in fantasy surroundings. These sets are limited by the budget of course, but like all Hammer films it still looks pretty good all things considered. Unlike most Hammer films, though, there is also some on-location photography too, with scenes shot in the desert in the Middle East. This indicates quite clearly that the famous old studio invested a bit more into this production than most, and clearly this was not misplaced seeing as She was one of their biggest commercial successes. Despite this, it isn't in the final analysis an example of the best of their output. It's a little lacking in excitement for too much of the time. Having said this, it does have a rather good ending that is both creepy and surprising. And not only that, it does have both Peter Cushing and Christopher Lee at its disposal which can never be a bad thing quite honestly. So with this in mind and also taking into account that we have a gorgeous ice queen in the lead role, She is a film that has some good things going for it.

She Who Must Be Obeyed!

[BaronBl00d · 16 July 2001]

Lovely Hammer vehicle about a group of Britishers trying to find fame, fortune, and for one, love in the desert. The three men are Peter Cushing as a professor of archaeology, Bernard Cribbins as his valet, and John Richardson as Leo...the man promised all if he makes the perilous trip through the desert for She. She is an atypical Hammer film. There is not a lot of blood and horror, but plenty of adventure. The film boasts a fine Hammer troupe of wonderful actors. Cushing is exceptional as the professor. Cribbins(a very underrated actor) also shines. Andre Morrell and Christopher Lee also are on hand. Lee has little to really do, however. The male lead Richardson is a bit on the monotonous side, but he does an adequate job. She, the queen of a lost city and people, is played by sex goddess Ursala "Undress" Andress(she keeps her clothes on in this one). Andress probably does give her finest acting performance in this film(it's okay but don't get TOO excited!). The settings look very good, very realistic, and the score by veteran Hammer composer James Barnard easily is the best thing about the film. Bernard creates a wonderful variety of music which enhance the action and romance in the film.

Lovely adventure yarn from Hammer studios!

[The_Void · 6/10 · 10 March 2005]

Hammer are famous for making horror movies (obviously), and 'She' is often considered amongst Hammer's horror offerings. I beg to differ from that notion, as although it certainly has horror elements: this is most definitely an adventure movie. Still, the delirious Hammer style is definitely still there and this movie succeeds in conforming to the camp ideals that Hammer became famous for (and that I love them for!). This is also one of many (though not enough!) movies to feature the immense talents of both of Hammer's super-heavyweights; Peter Cushing and Christopher Lee, and both deliver to their regular high standard. The plot follows three men who travel to a lost city in search of riches that have been promised to them upon their arrival. However, the city is ruled by the powerful 'She who must be obeyed' (Ursula Andress) and she believes one of the men to be her reincarnated love, so sets about making him conform to her way of thinking...

The film exudes a sense of sleaze, in spite of not being essentially sleazy. This has come about due to the central theme of the woman being the dominant party, and as the woman in question is played by the domineering Ursula Andress, that sense is exuded quite plainly. Also joining in the fun aside from Cushing, Lee and Andress is Hammer favourite André Morell, who completes a rather fine cast. The low budget is more than obvious on a number of occasions, mostly through the cheap looking sets, and it seems as if the producers have been a little over ambitious. It doesn't matter, though, as the low budget adds to the charm and appeal of the movie, which ensures that the movie is even more fun for the viewer. The moral to the story has some credibility too, and the ending actually succeeds in being fairly powerful. On the whole, 'She' isn't a prime example of how great the adventure genre can be; but it's a solid film, and fans of low budget kitsch will find something to like.

Delicious adventure classic

[angelynx-2 · 7/10 · 6 February 2000]

One really shouldn't need to say more about this movie than that it contains the gorgeous Ursula Andress in her most imperious role, plus the incredibly lovely Rosenda Monteiros. =) But if one must, one will say that this is a classic adventure of innocence, devoted to the concept of faithful and undying true love and the ancient dominion of the Divine Female over all. Completely knocked me over when I was 14 and hasn't lost anything since. I just love it.

It's okay....but the 1935 version is more fun.

[planktonrules · 5/10 · 21 October 2011]

I have seen both the famous 1935 version of "She" starring Helen Gahagan as well as this 1965 version with Ursula Andress. And, while the '35 version is rather infamous as a bad movie (being named to a list of enjoyably bad films by the guy who came up with the Razzie Awards), I think it was much more enjoyable. This 1965 remake, unfortunately, is a bit talky and stiff. However, for fans of Hammer films, escapism and the films of either Peter Cushing or Christopher Lee, it's still worth seeing.

It's interesting that John Richardson receives fourth billing, as to me he was the lead in this film. He doesn't realize it, but he's actually been ordained to become the courtesan of a crazy lady (Andress) who has achieved immortality. The problem, however, is that she is completely amoral--leading a society in a lost city where SHE is to be obeyed--even when she is cruel and capricious--which she frequently is. Yet, oddly, Richardson is drawn to her and feels a sense of destiny--that he MUST have her and join her. Along for the ride is Peter Cushing and Christopher Lee plays her high priest.

The film is pure escapism. Yet, despite the sets and costumes, the film seems to be a bit dull--and spends too much time talking and talking. Now it isn't a bad film--just not all that memorable.

Bernard Cribbins was my favorite!

[bugsmoran29 · 7/10 · 18 October 2016]

I really enjoyed Bernard Cribbins as Job, the valet or manservant of the Major, played by Peter Cushing. The barroom scene where Job and the Major take on a squad of drunken soldiers was great fun and should have been longer. Another poster mentioned what great fun it was to see Peter Cushing and Bernard drunkenly dancing with some sexy belly dancers and I agree. It was fairly decent movie that was colorful in the style that Hammer Production was well-known for in the Sixties. I had to wonder about She Who Must Be Obeyed soldiers who perhaps ripped off their garb and shields from another movie being made about the Roman legions on another studio lot. Ursula was very sexy and beautiful. Overall, it is about average sandal and sandals movie.

SHE (Robert Day, 1965) **

[Bunuel1976 · 5/10 · 18 August 2006]

I was looking forward to this Hammer Films color remake of the H. Rider Haggard classic, after having re-acquainted myself with the fine 1935 black-and-white version last year. I was also glad to be able to get another Peter Cushing/Christopher Lee collaboration under my belt: this was, in fact, followed by another - Dracula A.D. 1972 (1972) - but, alas, both films turned out to be duds!

Even if it retains the desert setting of the novel (whereas the earlier version had transposed the narrative to the Arctic, albeit effectively), the film doesn't capture the imagination of the audience, so to speak, and emerges a dullish venture overall. Indeed, even the Hammer stalwarts - Cushing, Lee and composer James Bernard - seem uninspired by the material and their individual contribution is surprisingly below-par! To make matters worse, the two stars were largely relegated to the sidelines to make way for the insipid three-way romance comprising Ursula Andress, John Richardson and Rosenda Monteros (though the girls, at least, constitute undeniable eye-candy). Having just viewed THE CREEPING FLESH (1973), I appreciated Cushing's healthier-looking appearance here - though the Dracula film, needless to say, brought me back to his impossibly gaunt physique which resulted from the untimely death of his beloved wife!; as for Lee, ridiculously decked with a beehive-shaped headset during the climactic scenes, he was obviously the villain of the piece. The cast also featured Bernard Cribbins as Cushing and Richardson's companion/servant and a bare-chested(!) Andre' Morell as Monteros' father.

Despite having previously helmed two Boris Karloff horror vehicles - GRIP OF THE STRANGLER (1958) and CORRIDORS OF BLOOD (1958; which also featured Lee), both of which I've yet to catch up with myself {where are those rumored Criterion/Eclipse SE DVDs?} - this was Robert Day's only film for the Hammer stable, and it's easy to see why!

Younger man falls for older woman. Much, much older!!!

[BA_Harrison · 7/10 · 5 February 2008]

Ursula Andress ordering the execution of chained natives whilst wearing what looks like a bird costume; Peter Cushing and Bernard Cribbins cutting the rug with a couple of belly-dancers; Chris Lee wearing a stupid hat: 'She' might not be the greatest Hammer film of all time, but it certainly has its fair share of moments that make it worthwhile!

Based on the H. Rider Haggard adventure of the same name, this 1965 offering from the 'studio that dripped blood' sees a trio of adventurers—Holly (Cushing), Leo (John Richardson) and Job (Cribbins)—seeking the fabled city of Kuma, after they come into possession of a map that reveals its location. After risking their lives travelling through a desert, they arrive at their destination where they meet Ayesha, the immortal queen of the city, who reveals to Leo that he is the reincarnation of her dead lover Callicrates. Now, after 2000 years of waiting, Ayesha will do anything to keep him by her side for the rest of eternity.

Directed by Robert Day (who had previously helmed a couple of Tarzan movies and therefore would seem like an obvious choice for this adventure set in the 'dark continent'), 'She' is a lavish production that, whilst it might never be labelled a classic, has enough spectacle to make it worth a go.

As always, Cushing and Lee give solid performances, and Cribbins is likable as reluctant adventurer Job; Andress and Richardson are rather wooden, but are easy on the eye. Also rather lovely is Rosenda Monteros, as Ustane, a native girl who almost succeeds in luring Leo away from the manipulative Ayesha.

If you're a fan of Hammer films in general, and are partial to a bit of exotic adventure set in far flung lands, then 'She' should fit the bill rather nicely.

6.5 out of 10, rounded up to 7 for IMDb.

The Face on the Medallion

[richardchatten · 5/10 · 1 July 2022]

Despite going all the way to Israel for the desert scenes, the first of Hammer's exotic adventures is actually overall rather talky and poky and sorely lacks the usual attractive rural locations around Bray.

Of interest for affording the chance to hear Ursula Andress's real voice, the most memorable feature is probably Hammer veteran James Bernard's score.

Out of this World

[Scoval71 · 9/10 · 28 January 2005]

Breathtakingly gorgeous in this film is Ursula Andress. Equally as beautiful and ever so handsome and blond (an earlier Brad Pitt) is stunning John Richardson--whatever happened to him? This is a fantasy film. I have seen it many times and I never tire of it. It is one of my favorite films. Terribly unrealistic and impractical, yet maybe it could be true at that. Great acting and storyline. A fun movie and just a marvel to see how envy and jealousy interact in many ways. I highly recommend seeing (and owning) this movie. It is out of this world. And I mean that in a good supernatural way. Don't miss it when it comes on late night TV or buy the movie for yourself. You will enjoy it.

Classic Hammer Adventure Of Immortal Priestess Of Lost City

[ShootingShark · 6/10 · 28 December 2006]

In Palestine in 1918 three ex-soldiers come into possession of a map to the legendary lost Egyptian city of Kuma. After a perilous desert journey they reach their goal and find a strange secret society, presided over by the immortal She Who Must Be Obeyed ...

Based on the classic novel by H. Rider Haggard, this is one of my favourite Hammer movies. It's got gorgeous women, fights, camels, tribal dancing, human sacrifices, lost cities, scheming high priests, the secret of immortality and the usual apocalyptic last reel. Magic stuff. Andress looks stunning ("Blimey. They don't make 'em like that anymore."), Lee is terrific and Cribbins a tremendous foil, with his valet's disposition and bowler hat. As so often with Hammer's movies though, it is Cushing who holds the film together - his quiet intelligence and subtlety despite the weird situations are the work of a truly great actor and he raises the tone high above what could easily turn into silly shenanigans. There's also a great sweeping string score by James Bernard, remarkable costumes by Carl Toms and eye-pleasing cardboard-rock sets by Robert Jones. There are a lot of adaptations of this great story; several silent movies, an agreeable thirties Hollywood version with Helen Gahagan, and a direct sequel to this picture (The Vengeance Of She), but this is the best one - a great adventure/romance/horror flick for boys of all ages.

Cushing does his Funky Thang. Or something.

[The_Secretive_Bus · 3/10 · 12 March 2005]

"She" is a Sunday afternoon adventure film. It's got all of the ingredients; cheap production values, a wafer-thin plot, the same bit of music replayed ad-nauseam, and Bernard Cribbins. It's also, unfortunately, not very good, simply because it's dull. Very dull. At a 1 hour and 41 minutes running time, "She" struggles to find a way to keep its story going, and barely succeeds.

The opening scene is good for a few laughs, featuring scientist/explorer type chappy Peter Cushing and his lovable manservant Bernie Cribbins (yup, that fabulous starring duo from "Daleks Invasion Earth: 2150 AD" is back), accompanied by some curly haired twerp played by John Richardson (no, I don't know who he is either), sitting down in a bustling bazaar somewhere in Africa in the year 1918, Cushing enjoying the native dancing girls to a rather amusing degree (cue a "By jove!" or two). Watched by a not-very-blacked-up actor, the three have a chat about what they want to do now that the war has ended. The observant shifty Arab wanders off and brings back a nice looking foreign gal, and soon enough one of our British heroes (John) is wandering over to make his acquaintance and spout some dire courting dialogue such as "A pretty girl like you shouldn't be left alone in a place like this," and "Ustane? The name is just as beautiful as you are..." Soon he's told to meet her at a street corner later that evening, and so the first stage in a treacherous trap is set.

Not that you'll have been paying attention to any of this as during their little conversation somebody told Peter Cushing to stand up and do some belly dancing with the girls (luckily, unlike them, he keeps his shirt on). He and Bernard Cribbins both prove themselves to be a couple of swingers for a short time before a punch up about a kicked in bowler that gets them thrown out.

I'd just like to stress this - Peter Cushing belly dancing. Peter Cushing. Belly dancing.

*gibber*

Anyway, after one of the scariest moments in a British film, the "plot" continues as John meets the girl and gets promptly knocked out by the shifty Arab who doesn't appear again. He awakes in a sumptuous looking pad and meets Ayesha (better known as She Who Must be Obeyed, but that doesn't sound as appealing, frankly). Now here we come to one of the problems about these sorts of films, where the plot hinges upon the fact that the leading lady is presented to be the most desirable woman in the world. It happens here, in Richard Burton's "Dr. Faustus", in any number of Ingrid Pitt lesbian vampire flicks. The trouble is, and this is of course down to personal taste, I don't find Ms. Andress particularly attractive. She's an OK looking gal, but I've never been one for the whole "Mysterious and alluring femme fatal" type, which means I can rarely communicate with the leading male characters who instantly fall in love with said femme fatal and are willing to give up everything to be with them forever. The same applies here. Maybe it's because John Richardson plays it so blank throughout, I don't know. But when he gets set a long journey across the desert to locate a forgotten city and instantly agrees before going for his fourth snog, I was getting a trifle cynical, sounding more or less as I do writing this review.

Fortunately we're soon back with Cushing and Cribbins, who *un*fortunately seem to do very little in this film - it's mainly concerned with the boring decisions of Richardson and the love triangle he gets himself into (not with Cribbins and Cushing, no, with She and serving girl Ustane - though the former would have made for a far more interesting feature at the very least). The journey, all mix n' fade shots of our intrepid/insipid travellers looking weary and swigging from water gourds, gets tedious quickly, and a quick assault from rifle waving desert chaps doesn't cause much of a stir either. I won't say too much more about the story, but you'll probably find yourself, as I did, guessing what events and problems will befall Cushing and the gang about five minutes before said events happen - and about 80% of the time you'll be right.

The cast have probably made this film more memorable than it should be. As well as Andress, Cushing and Cribbins, watch out for Christopher Lee in a rather small role as a high priest (and, just as in "The Mummy", he gets to wear another stupid hat during a ceremony), and Andre Morell (Watson in Hammer's "Hound of the Baskervilles). Actually, the presence of Morell provoked some amusement for me. I've got so used to the "Oh, that actor's in..." game that now I'm so sad as to be able to a) recognise a 50s/60s actor even when under make up, b) recognise said actor even when his voice has been dubbed by a *different* actor, and c) recognise the voice of the actor doing the dubbing! So, though Andre Morell, a terribly English actor, appears as the chief of a primitive tribe, it is not his plummy tones that emanate from his mouth but those of swarthy foreigner actor George Pastell, better known to us Doctor Who fans as madman and swarthy foreigner Eric Kleig from "Tomb of the Cybermen" (and as the fez wearing swarthy foreigner who brings "The Mummy" back to life in Hammer's earlier monster movie).

101 minutes goes by very slowly, with yet more swarthy foreigners and a certain very old flame, and you'll probably greet the final caption with a yawn and a stretching of limbs to combat rheumatism. "She" isn't a particularly bad film, but it's just boring. Even a showing of some top notch British talent can't save it. And nor can a belly dancing Peter Cushing.

4/10

Entertaining popcorn movie

[pepe4u22 · 7/10 · 11 May 2010]

She is an enjoyable piece of Hammer fluff and that is all there is to say really. True movie fans of Hammer movies see the iconic stars Peter Cushing and Christopher Lee in roles and that makes this movie a treat to watch as they have a presence that gives a certain dignity to the movie. As the lead Ursula Andress shows why she was a sex symbol in the 60's as she is stunning and smoking hot to look at and her acting who cares she is not a thespian that is for Cushing and Lee to do she is to look sexy and alluring and she does that well. The cast does a good job with a good story but as with everything in life there are some shortcomings. One the sets looked cheap and the story one could see events coming because it lacked some intrigue but these are fine as many a movie has this problem but my biggest problem was the lead of John Richardson he may look like Ken come alive but he was so wooden I swear Woody Woodpecker was going to town on his acting skills he has no presence, read lines in a monotonous monotone fashioned and looked bored throughout. In addition his eyes look glazed during the entire movie like he was in a trance and he just awful. Despite this a fun and entertaining movie and critics may carp about many a thing but this movie is true popcorn and I for one like to be entertained I was and would recommend this movie to be seen.

She

[Scarecrow-88 · 7/10 · 21 October 2011]

The "Lost City of Kuma" is a desirable place for handsome Leo (the dashing John Richardson) who could be the ancestor of a former High Priest of Isis, "invited" by the eternal goddess Ayeisha (She Who Must Be Obeyed) to journey through desert and mountains to find her so they can be together. Archaeologist Holly Hollander (Peter Cushing) and his loyal valet Job (Bernard Cribbins) are part of Leo's entourage and the three set out to find the city, She (the radiant beauty Ursula Andress) awaiting her suitor. Besides braving the hot sun and absence of water, the trio also encounter hostiles who steal their camels, fire rifles at them (but purposely missing their aim), and slicing water bags so that the journey is far more arduous and difficult than it might be otherwise. Ustane (Rosenda Monteros), daughter of an adversary of She, Haumeid (André Morell), adores Leo and her love has "kept him alive". She is not exactly a cherub as it was her behind the numerous obstacles the trio faced along their burdensome journey. She believes Leo is the High Priest of Isis, reborn in his body and Ayeisha claims to be 2000 years old. Ustane's life is in danger because she poses a threat to She (we see a distant memory of She stabbing the High Priest of Isis who was having an affair with another) regarding Leo's love. Billali (Christopher Lee) is She's loyal lead officer, obeys her commands faithfully, but Holly believes he is longing to be free from the bondage of her power over him. She is not to be fooled with as we witness her wield execution on some of Haumeid's disobedient people by throwing them into a fire pit. She's grand desire to attain supreme power, instill fear and terror in all that fall under her reign, and bestow upon Leo the key to eternal life. Andress' beauty is otherworldly, and her "falcon outfit" is quite a sight. Cushing is such a welcome presence (coming from someone more than a bit biased since I consider him a welcome presence in every movie) as a man of wisdom whose opinions are of great importance (his scene with Lee, where the archaeologist challenges Billali's loyalty to his queen, is a strong example of Cushing's ability to convince through intellect), with the scene where Leo chooses She over all of them quite a tragic moment where it seems evil has triumphed over good. It looks like Hammer redressed some sets from "The Mummy", including what appear to be variations on Egyptian costumes from said movie. Ustane's fate, while unfortunate and sad, does spurn a revolution, led by Haumeid, disabling She's army of soldiers in an action-packed finale. I applauded She's fate as it was deserved and justified. After betraying the loyal and loving Ustane, I had a hard time sympathizing with Leo's character when he himself faces a crisis of his own making at the very end when he doesn't heed the advise of Cushing's archaeologist, facing a life alone.

"A curates egg."

[jamesraeburn2003 · 5 December 2004]

*POSSIBLE SPOILERS*

Palestine 1918: Major Horace Holly (Cushing) and his friends Leo Vincey (John Richardson) and Job (Bernard Cribbins) are preparing to return home to England after fighting in the war. However, their curiosity is aroused when they hear rumours of a hidden city in Africa's mountains of the moon. However, they are being lured into a trap by Ayesha (Ursula Andress) the cold blooded ruler of the hidden city who has the secret of eternal life because Leo Vincey is a dead ringer for the lover whom she murdered in a fit of jealousy centuries ago.

This is Hammer Films' version of the often filmed H. Rider Haggard fantasy. It is something of a curates egg because at times the script by David T. Chantler contains some of the most ridiculous dialogue you will ever come across like when Major Holly visits Ayesha's high Priest Billali (Christopher Lee) in his temple. The walls are encased with the skeletons of his predecessors and he remarks "They are all priests but they have a difference, they are dead I am alive." Yet at the same time the film has some genuine moments of power. For example, a beautiful young peasant girl from the hidden city called Ustane (Rosella Monteros) is in love with Vincey but ends up losing him and her life when Ayesha forces him to choose between them and he isn't strong enough to do it. The Cinemascope photography of Harry Waxman is excellent as is Robert Day's direction and Ursula Andress looks more stunning than she did when she came out of the sea in the first James Bond movie DR NO and all members of the cast do justice to their roles.

Sequel: THE VENGEANCE OF SHE (1967)

She Who Bored Me

[bensonmum2 · 4/10 · 7 September 2009]

She is set in Palestine circa 1918. British archaeologist Holly (Peter Cushing) and his two buddies are given a map to the lost city of Kuma. After a long and arduous journey, they discover Kuma and meet a mysterious, beautiful woman known only as She Who Must Be Obeyed. She has been alive for 2,000 years, waiting for the return of her true love. She believes that Holly's pal, Leo, is her long lost love. Her plan is to have Leo jump through the flame of eternal life so that the two can be together forever.

I really thought I was going to like this one, but it's just too blankety-blank-blank dull for my liking. The movie has it's moments, but overall it's about as exciting as watching grass grow or paint dry or any other old cliché you can think of to describe something this wretchedly uninteresting. I suppose that the last act is reasonably entertaining, but the rest is a chore to sit through. Take that "exciting" trek across the desert for example. Wow – there are more thrills in watching snails race. Top-billed Ursula Andress may have been a beautiful woman, but she exhibits no screen presence and even less acting ability. I was much more impressed with the servant girl Ustane played by Rosenda Monteros. That's who Leo should have jumped through the fire with. Cushing is Cushing – always the professional and always watchable. I'll also admit that I did get a few chuckles out of the very British and very proper valet Job (Bernard Cribbins). Speaking of chuckles, what was up with Christopher Lee and his increasingly ludicrous head-wear? By the end of the film, how could you not laugh at the pineapple looking headpiece he was wearing? The film's score didn't help matters much at all. Its monotony only serves to add a sense of lethargy to She – something the movie really doesn't need. Finally, I know Hammer often did wonders with small budgets and I'm usually willing to overlook some of these budget related weaknesses, but She has some terribly atrocious looking matte paintings. My son could have done better with a box of 64 Crayolas. Overall, I much prefer the 1935 version of She with Randolph Scott. It's not perfect, but it's not as dull as this one. A 4/10 from me.

Surprisingly good adaption

[IndustriousAngel · 7/10 · 15 February 2016]

Well, my expectations were not too high given that this is basically a Hammer film, which means a severely limited budget and production schedule - but I got disappointed in a positive sense because they sure got maximum mileage out of that budget. Sure, the sets look fake, but they have style and don't take us out of the story. The camel-back scenes were better than in "Lawrence of Arabia"! But what surprised me most was the capable acting; it's as much drama as adventure and so might easily have become cheesy or plain ridiculous - but with the sad exception of the "hero" (John Richardson, rather bland play) everyone gave their best; Cushing is excellent, Cribbins a nice sidekick (superb use of "They just don't make them like that anymore"), Lee fittingly secretive, Monteros adorable, and Andress completely otherworldly (congratulations to the make-up/costume department; light was also excellent) - she owns the screen in every scene she's in.

7/10 (might have been much better with a more capable male lead) - you can't kill a good story like "She" but in this case they managed much more than let it live!

She Who Must Be Obeyed!

[BandSAboutMovies · 5/10 · 30 January 2021]

Based on the H. Rider Haggard novel, this Hammer feature - directed by Robert Day (The Initiation of Sarah) - takes Ursula Andress to the only logical place she can go after blowing minds as she rose from the beach in Dr. No. Now, she is a goddess.

Professor Holly (Peter Cushing), Leo Vincey (John Richardson, Torso, Black Sunday) and Job (Bernard Cribbins) have left the war behind and are their way to Africa when they discover a map of a secret land that is only rumored to exist. There, "She-Who-Waits" and "She-Who-Must-Be-Obeyed " Ayesha (Andress) rules eternally.

She believes that Leo is the reincarnation of the lover she killed 2,000 years ago for cheating on her and wants him to walk through the blue fire to become immortal by her side.

In the midst of that drama, Leo has fallen in love with Ustane (Rosenda Monteros, The Magnificent Seven) and Ayesha decides to kill her for such impudence. Her tribe, the Amahagger, attack Ayesha's army, all while her most fanatical follower, Billali (Christopher Lee) attempts to walk through the blue flames himself.

Despite Ayesha dying at the end of this film, the character would return in Hammer's The Vengeance of She, with Olga Schoberová taking over the role.

The first Hammer movie to be built around a female character - in spite of them hating the sound of Andress' accent and having her dubbed by Nikki van der Zyl* - this is an intriguing while dated look at a female ruler subjugating her subjects while remaining eternally in love.

She has been made so many times, starting in 1899 with Georges Méliès' The Pillar of Fire. It was remade in 1908, 1911, 1916, 1917, 1925 (with Haggard writing the cards that appeared between the silent action) and 1935 before this movie and in 2011. I guess you can consider the Sandahl Bergman film She is somewhat inspired by this, even if it's just the title.

*She also dubbed Andress in Dr. No, as well as Eunice Gayson in From Russia with Love, Shirley Eaton and Nadja Regin in Goldfinger, Claudine Auger in Thunderball, Mie Hama in You Only Live Twice, Virginia North in On Her Majesty's Secret Service, Denis Perrier in Diamonds Are Forever, Jane Seymour in Live and Let Die, Francoise Therry in The Man with the Golden Gun and was the voice of Corinne Cléry and Leila Shenna in Moonraker. She was also the voice for Monica Vitti in Modesty Blaise, Racquel Welch in One Million Years B.C, Sylva Koscina in Deadlier than the Male and Lulu in The Cherry Picker.

"She is like the mountains, like the desert. Changeless. Ageless. Deathless"

[hwg1957-102-265704 · 7/10 · 18 April 2020]

A fine adventure film based on the Rider Haggard novel. Not made on a huge budget but it does very well with what is has. There are are colourful sets by Robert Jones, crisp cinematography by Harry Waxman and an effective music score by James Bernard. Apart from a bland John Richardson as Leo it has an interesting cast; Peter Cushing as the intelligent Major Holly, Bernard Cribbins as the faithful Job, Christopher Lee as the grudging high priest Bilali and though she was dubbed in the part Ursula Andress looking perfect (so perfect) as Ayesha.

The film has romance, travel, history, mystery, revolution and the Oo-Bla-Da Dancers. What more does one want? Most enjoyable

old-school adventure/romance flick

[amanda_tootz · 4/10 · 1 July 2005]

this movie tells the tale of 2 English gentlemen and their butler in Palestine shortly after the end of WWI. The young and handsome Leo Vincey meets a mysterious and beautiful woman - Ayesha - and is given the task to travel through the desert (VERY DANGEROUS) in order to return Ayesha's ring to her - with the promise of riches, power, and love..... So...the three men go off in hopes of adventure etc. and adventure is exactly what they find. if you are into old, 60's style specialFX and cheesiness - then you'll like this movie. If not, then you probably won't - i didn't. Ursula Andress (HOT) and the Butler "Job" (funny) are the only real highlights in this flick.

A sad eternal triangle

[XweAponX · 10/10 · 30 June 2019]

Despite changing the setting from the Arctic to Egypt, this version of the H Rider Haggard story appears to definitely have taken a lot of inspiration from the 1935 version with Randolph Scott, Helen Gahagan and Helen Mack.

Although Ursula Andress probably generated a lot of interest in this version, the big stand out is John Richardson.

Rosenda Monteros from "The Magnificent Seven" takes the place of Helen Mack as the less-exotic "other girl" of the triangle. It was probably an ethnic miscast (along with Christopher Lee playing an Egyptian priest) but she did well.

The difference between this version and the 1935 version was that Helen Gahagan depicted a much colder and much less desirable "she who must be obeyed", it wasn't that I didn't like Helen Gahagan's version of this woman, she actually pulled it off fairly well. But Ursula Andress was born to play this role, reflecting a stark contrast between her external beauty and her internal ugliness.

Between the two films the philosophy of "she" is identical: to rule by fear and terror.

And while the 1935 version shows some of this evil, being a Merian C Cooper production it reflected a lot of similarities to King Kong in actuality, but that film doesn't reflect the very dark streak that runs through the city ruled by this woman.

This 1965 hammer films version does great homage to the 1935 version, including some incredible and very large sets, not as large as the sets they built for the 1935 version, but still fairly large.

The ending of this version is a lot darker but it is not disappointing, except for the feet of one of the characters that you start becoming attached to. A lot of the dialogue toward the end of the film appears to have been lifted directly from the 1935 version.

But the thing that draws you into this version of the film is the incredible music written by James Bernard, which includes strains that are very reminiscent of the 1935 version.

Overall this is one of the very best hammer films I have ever seen, and this film was of course intended to be shown in cinemascope, I would love to be able to see it on a curved screen, there are some panoramic shots that reveal Cinemascopic photography.

An old flame returns

[Spondonman · 7/10 · 25 December 2013]

My apologies: there are certain films I watch through rose-tinted spectacles whether I want to or not – this is one of the rosiest. I saw it at the pictures in the mid '60's at 6 six years old and was bowled over by it; the same with Thunderbirds, King Kong and the Daleks.

In Palestine 1918 a dashing young Briton played by John Richardson becomes convinced he is a reincarnation of Kallikrates, the lover of an ancient queen (Ursula Andress) who has apparently been waiting two thousand years for his return; he and his two friends Peter Cushing and Bernard Cribbins decide to journey across the desert to find her in the lost city of Kuma so he might find happiness and they may find antiquities. It's a straightforward adaptation of H. Rider Haggard's classic fantasy novel from 1886 with a few alterations – mainly dubious Victorian conventions and stereotypes replaced by corresponding 1960's versions. It's enjoyable stuff if not taken too seriously - the plot is fine, the sets are excellent, the music atmospheric, the acting generally very good, only – apart from his good looks what on Earth would the immortal Ayesha ever see in such a wooden dolt? And apart from her good looks at least she would surely have amassed a wealth of good stories in two thousand years! Or did she simply look at the cave walls all that time? Favourite bits: the desert trek to some stirring music; the punishments of the natives meted out by the queen shocked me when little – but some might say the later She Who Must Be Obeyed Maggie Thatcher would've liked to have done something similar with the miners and some ministers; the fiery baptism and its results – although thankfully the "old and faithful" dog-like servant Job lived to tell the tale in here.

A few years after She there was a Shequel, which was almost as bad but not quite as bad as HRH's own two sequels Ayesha and She And Allan. Haggard spent his career mining the deep African vein that She had given to him – in fact, he literally drove the mine into the ground with decades of increasingly ridiculous lost tribe tales. And then Edgar Rice Burroughs picked it up and ran with it for decades after that. Randolph Scott's 1935 film version was less faithful to the novel but almost as enjoyable as this, and I already prefer this Hammer version to any future possible glossy cgi cartoon remake.

Ursula Andress Shines in Lesser Hammer Production

[ksj870 · 5/10 · 12 August 2013]

This should have been a great film. The subject matter--an exotic adventure blessed with a cast including Hammer stalwarts Peter Cushing and Christopher Lee plus the radiant beauty of Ursula Andress--provided a perfect opportunity for Hammer to shine. Alas, the film is a great disappointment. Cushing and Lee contribute their usual solid performances, but regrettably they are both merely supporting characters. Andress perfectly embodies the unearthly but somewhat cold and imperious beauty the eponymous character, She Who Must Be Obeyed, requires, and she plays the part quite well, so well that it's easy to see why even a good man might be tempted to throw his entire world away for a chance to live throughout eternity in her arms. All the same, the production is lackluster in most other respects. The biggest problem is the pacing. Everything moves very slowly without much excitement to liven things up. For all that She is supposed to be an adventure story, there is very little action and what there is tends to pass quickly. The climax steps things up a little as it brings everything to a head, but it's far too little too late. The movie should have inserted a little more intensity into the narrative, which could have been rather easily accomplished by making Christopher Lee's ambitious and enigmatic character a larger part of the story. As it is, She stands as a sumptuous, attractive period drama with a few sci-fi/fantasy touches that has no energy whatsoever. For a much better treatment of the same story, see the earlier Randolph Scott film instead. It lacks the luminous Ursula Andress, but in most other respects is a far better movie.