SHE

UK, 1965, 106 minutes, Colour.
Ursula Andress, Peter Cushing, Bernard Cribbins, John Richardson, Christopher Lee, Andre Morell.
Directed by Robert Day.

She is one of the many versions of H. Rider Haggard’s novel. Haggard also wrote King Solomon’s mines. His adventures take place in the exotic Middle East and Africa, lost kingdoms, searches for wealth …

Peter Cushing appears as an archaeologist who travels to the Middle East with his nephew, played by John Richardson. Cushing had become a standard in this kind of film from the 1950s at Hammer Studios with his appearances in the Frankenstein and Dracula films. He also appeared in a number of films like this including The Land That Time Forgot. John Richardson, who was to appear the next year with Raquel Welch in One Million BC, is his nephew. The film also includes a number of British character actors.

However, the focus was on Ursula Andress as Ayesha, the ruler of an ancient kingdom: She Who Must Be Obeyed. Andress had made a big impression in 1962 in Doctor No, the first of the James Bond films.

This is exotic, boys’ own adventure kind of action – with the glamour of Ursula Andress. There was a sequel, The Vengeance of She which also starred John Richardson.

1. The original story was a classic. Do you think the film sequence is classical? The tone of the title and the character She? How ordinary was the treatment, was it geared to popular enjoyment?

2. How impressive were the exotic sets? The background of religion and the treatment of legend? What type of audience response were the film makers after?

3. What were the main features of the myth concerning She? Why would it appeal to audiences of all times? The perennial facets of legend? The quest of immortality, the possibility of immortality without death? The power of love, murder for immortality, self sacrifice, jealousy, anbition and greed, the lust for power? How were these elements embodied in the myth of She? How well explored and presented were they in the film?
4. How convincing was the initial setting of Jerusalem? The bar, the people present, the ordinariness of the English, Leo himself, Peter Cushing as a professor, and Bernard Cribbins as Job? (Was the latter out of place with his music hall routines?) The atmosphere of mystery and the renewal of the mystery for them?

5. Could the audience identify with these characters? With Leo and his quest? With the professor?

6. The appearance of Ustany - the air of mystery about her? Audience sympathy for her? That she became the victim?

7. How well done were the techniques of illustrating the journey via the map and the locations? The quality of the photography? Atmosphere of desert remoteness, of fantasy? Suffering and being saved by Ustany?

8. How mysterious was Ayesha? Ursula Andress’ performance and appearance? Had she the quality of myth? Could she inspire such loyalty and love? Audience response to her? to the truth of her power? Of her need to be saved? Could audiences understand Leo's infatuation with her and love?

9. Comment on the portrayal of life in Kuma? Was it credible? Or was it Saturday matinee style?

10. How convincing a villain was the high priest Billali? which sequences best illustrated his villainy? The lust for power and the clash with Ayesha?

11. How did this contrast with Haumeid and his followers? The war scenes and barbarity?

12. The barbarity of Ayesha, her torturing of people, the pit, her torturing of Ustany? Was this barbarity compatible with the beauty of Ayesha? The background of the myth and her murdering her lover?

13. The significance of the flame and the moon? Was this treated convincingly?

14. Did you expect Ayesha to wither away and decay? The visual effects for the convincing portrayal of this? Its impact on the audience, on Leo?

15. The sense of destiny, the destruction of Ayesha, of Billali? Leo going into the fire and having to wait for hie chance of redemption?

16. Why are films combining myths, fantasy lands, Eastern background, horror always enjoyable to popular audiences?