User reviews

If the 1935 SHE reminds you vaguely of the 1933 KING KONG do not be too surprised: both films were produced by Meriam C. Cooper, who endowed them with similar visual styles--and who tweaked the 1887 novel by H. Rider Haggard to create a similar story line as well. Starring Broadway actress (and later two term Democratic congresswoman from California) Helen Gahagan in her only film role as The Eternal One, SHE did not, however, meet with the same financial success. It lost a tremendous amount of money for RKO, was withdrawn, and for many years was thought to be completely lost.

Although the film alters the Haggard novel in a great many ways, it retains the basic elements. Lured by a family legend, Leo Vincey (Randolph Scott) braves the frozen European north with family friend Horace Holly (Nigel Bruce, best known for his appearances in the Sherlock Holmes series) and innocent Tanya Dugmore (Helen Mack, popular 1930s ingenue.) When an avalanche exposes a cavern, the three find that the Vincey family legend is not quite so fanciful after all.

Most particularly, they find themselves at the mercy of She Who Must Be Obeyed, a woman who recalls talk of Jesus Christ in the Jerusalem market place, a woman two thousand years old who preserves her life by bathing in a radioactive flame that vents from the volcanic floor of her hidden kingdom. She (known here as Queen Hash-A-Mo-Tep) has been waiting for the reincarnation of her long-dead love, and Leo is his spitting image.

The acting styles are stiff even by 1935 standards and although Miss Gahagan is attractive in a 1930s way she lacks the stunning beauty attributed to She by the Haggard novel--but the great draw of the film was never intended to be great acting: like KING KONG, it is an action-adventure film with knockout sets (a few of them actually lifted from KING KONG), memorable special effects, and remarkable cinematographic set pieces. Even as it borrowed from earlier films such as the 1932 Boris Karloff THE MUMMY, it would also influence later films in turn; it is hard, for example, to imagine the 1937 Ronald Coleman LOST HORIZON without it, and even the look of the evil queen in Disney's 1938 SNOW WHITE is said to have been inspired by Gahagan's look and performance.

The film has been released in several editions to the home market, and fans may be tempted by less expensive editions. A word to the wise: Don't. The film shows its age and there is no significant bonus material, but the Kino Video release (be it on VHS or DVD) offers what is probably the best print short of a digital restoration. Recommended for fans of 1930s fantasy cinema.

Gary F. Taylor, aka GFT, Amazon Reviewer

Story of a young man Leo Vincey who after hearing of his dying uncle tell the fantastic story of his ancestor 500 years ago, who found a lost kingdom and a pillar of eternal flame which resided with in, decides to go to the frozen north (in the original Haggard novel, it was East Africa), with his uncle's lab parter Horace Holly, a gold hungry guide, and the guide's daughter Tonya. When the guide is killed in an avalanche, it opens an entrance to the lost kingdom of Kor, where in resides the flame and it's keeper and kingdom ruler, Queen Hash-a-Mo-Tep, or She Who Must Be Obeyed. SHE believes Vincey to be her former lover of 500 years ago, who is also Vincey's ancestor. SHE later then tries to make sure that Vincey stay in the kingdom with her alone for eternity, even if it means the death of Tonya, whom Leo is really in love with. Very good picture with decent performances by the entire cast, but the acting couldn't overcome the melodramatic script, especially in Scott's case. Very good set design and art decoration by Polglase with the art-deco style of the 30's. Obviously not the equal of Cooper's prior masterpiece King Kong, but still a very well done piece and much better than the Andress version. Rating- 7.

Leo Vincey (Randolph Scott) and Horace Holly (Nigel Bruce) search the Arctic for a hidden land where a mystical blue flame is kept. Along the way they pick up lovely and innocent Tanya (Helen Mack), who falls in love with handsome Leo. Eventually they arrive at the place they were seeking and discover it ruled by a merciless and immortal woman (Helen Gahagan) known as "She who must be obeyed." She believes Leo to be her long-lost love returned to her at last and She is none too pleased with cutie Tanya's affections towards her man.

Fun lost world escapist fare made at a time when there were still unexplored regions of the world and imaginations ran wild at the thought of discovering lost civilizations or hidden treasures. We still get movies like this every once in awhile today, particularly about lost treasure. But back then it was a common staple of fiction, print and film. There was a sense of wonder and excitement about exploring the unknown. Not to get on my soapbox but this type of storytelling does seem to be lost to us in the cynical age we live in today.

Future Congresswoman Helen Gahagan (she coined Nixon's nickname "Tricky Dick") gives a melodramatically memorable performance as She. Randolph Scott, years away from his western stardom, is very good as the heroic leading man. I especially liked that he was tempted at the prospect of immortality. It makes him seem a little more human than this type of character often was allowed to be back then. Helen Mack is pretty but can't say the name Leo to save her life. She keeps pronouncing it as Lay-o throughout the movie. Still, she's better here than she was in Son of Kong. Nigel Bruce is solid as ever. Samuel S. Hinds has a brief but good part at the beginning as Leo Vincey's dying uncle.

Striking sets, costumes, and special effects. Adapted from H. Rider Haggard's novel, "She" was produced by King Kong's Merian C. Cooper, written by Ruth Rose, and scored by Max Steiner. So, in a way, it's like a cousin to that great film. "She" has been released in colorized form. While I am NOT a fan of colorizing black & white films at all, I will say that the colorization for this particular film is probably the best I've ever seen. It resembles the kind of color that would have been available at the time and not the more lavish Technicolor from years later, so the muted colors that usually come with the colorization process seems to work in its favor. But still, I prefer the original black & white film and would recommend it more.

I have very happy memories of this movie, which I finally saw in a revival house in New York City in the early Nineties, after many years of its unavailability due to the Hammer remake. This much more idiosyncratic version from the Thirties owes a lot of its atmosphere and stylish elan to the extraordinary Bauhaus-inspired sets, the Max Steiner score, and Helen Gahagan's majestically mannered performance as She Who MUST Be Obeyed. It's a film very much of its time yet there is also a timeless, haunting quality to certain sequences. It has very little to do with Rider Haggard's novel (which is a great favorite of mine) but once I realized this was going to be a different story altogether I didn't care.

The theatre that showed this was packed for a mid afternoon screening, and the audience reacted with tremendous enthusiasm to this classic film. If you have a taste for such great 1930s epics as King Kong, Gunga Din, and King Solomon's Mines, you will enjoy it as well. The 1965 version with Ursula Andress, Peter Cushing and Christopher Lee is fun as well but has even less to do with the themes of Haggard's original novel. It does however have a more up to date feel for those who care about glossy production values.

Merian C. Cooper, co-creator of KING KONG (1935), turned his eyes to another long-lost civilization for this epic fantasy whose driving force, however, is not amazing special effects but rather the theme of reincarnation and love spanning several centuries (hence its affinity with THE MUMMY [1932]: screenwriter John L. Balderston had been assigned to adapt the H. Rider Haggard novel around this same time, before the property was sold to RKO). Still, despite every effort on the part of writers Ruth Rose and Dudley Nichols and an interesting cast - Randolph Scott, Helen Gahagan (wife of Melvyn Douglas and whose sole film this was!), Helen Mack, Nigel Bruce (thankfully playing his part straight) and Gustav von Seyffertitz - to wring every ounce of romance and adventure out of its plot, the film's single most impressive contribution is the awe-inspiring production design (courtesy of RKO's in-house genius of art direction during this time, Van Nest Polglase). Max Steiner's score is also notable, evoking both the mystery of an unknown land as well as the dangers and passions lurking within.

A word needs to be said about the DVD: I'm not sure how the film ended up at Kino since RKO titles are currently the property of Warner Bros., but picture quality is quite acceptable under the circumstances. However, the audio is a different matter entirely: it was so low that even when pushed to the limit, one can hardly discern what's being said (particularly during the climax)! I've had some discs whose audio was no more than discreet but never anything like this; it was a very frustrating experience, to be sure, and I wonder whether others who might have SHE on DVD feel the same way...

This once seemingly lost, or at least taken out of circulation, film is now back in a magnificent Kino colorized version with restored footage and sound, all of which will surely bring new fans to this unusual film.

The story has been filmed at least six times, with the Kino DVD showing excepts from the (poor) 1911 and (better) 1925 silent versions. The 1966 version may have had the best looking 'She', a regal Ursula Andress, but this one has great art deco sets (now even more amazing in color); bizarre Busby Berkeley like dance sequences (nominated for a 1935 Oscar, no less!); a stirring Max Steiner score; the cute as a button Helen Mack--also seen in the weak 'Son of Kong' (1933); and Nigel Bruce in a major role playing it straight.

Helen Gahagan plays 'She' in a passionate, mannered way with almost Shakespearian dialogue. Unfortunately she is poorly off set by a dull Randolph Scott as Leo, making her 500 year old love for him seem a little unconvincing.

Much better would have been RKO star Joel McCrea who had a more handsome profile, physique, energy and acting skill. McCrea does an outstanding job in 'The Silver Horde' (1930), 'Bird of Paradise' (1932), and 'The Most Dangerous Game' (1932). Why he wasn't in this one is a mystery, and a detriment to the film.

The only other really weak spot is that though they were in the Frozen North, you never see cold breath coming from the characters' mouths. Contrast this with the impressive 'Lost Horizon' (1937) or 'The Thing' (1982), where when it's cold, you can see their breath!

Other notes: The evil queen's purple costume in 'Snow White' (1938) is an exact copy of one of She's royal 'gowns' complete with spiked tiara! We also see the the Skull Island Kong Gate from 'King Kong' (1933).

High points: The final sequences beginning with 'The Hall of The Kings' elevate the quality of the film tremendously. The colorization really is the best here. Helen Gahagan gets several strong scenes about the burden of immortality. The love triangle focus of the film actually works because of Ruth Rose's dialog and the acting skills of both Helens.

Watching it in black and white (also included on the Kino DVD) gives the story a more nightmarish quality and is also recommended. For both, I give them a 7.

It might have been nice if RKO had gone through with the original budget for She with color and everything else they planned for it. It might even had meant a more substantial film career for Helen Gahagan Douglas.

As it was Helen Gahagan Douglas left the screen and performing altogether for politics and a seat in Congress which she gave up to run against Richard Nixon for the Senate. The two Representatives set some new low standards for dirty campaigning, it wasn't completely one sided, but Helen coined the name 'Tricky Dick' for Nixon which clung to him the rest of his life.

But in She, Douglas made an indelible impression as the ageless beauty from H. Rider Haggard's novel who tries to win the love of Randolph Scott, the descendant of a love several generations removed.

It's on the quest for that ancestor that Randolph Scott and Nigel Bruce set off for the far reaches of Siberia where the widow of that ancestor left a journal telling of a lost civilization in the Arctic, built around an eternal flame promising eternal life for those who step into it. Along the way Scott and Bruce pick up Helen Mack and the three of them literally stumble on the cave entrance that leads to this fabulous place run by the thousand year old beauty Helen Gahagan.

Randolph Scott is the stalwart hero that you see in many of his westerns. His American accent is explained by saying his branch of the family took off for America a generation or two back. Nigel Bruce is far from Doctor Watson, he's quite the two fisted action hero here, an aspect I never thought I'd see.

For reasons I don't understand, the location was changed from Africa to the Arctic. Especially because RKO had that jungle set that was used for so many of their classics like, The Most Dangerous Game, King Kong, and Five Came Back, I don't understand the change. Maybe someone thought the jungle was starting to look familiar.

This adaption of She contains all of H. Rider Haggard's sense of high adventure and drama. Unfortunately it lost money and killed the film career and started the political career of Helen Gahagan. It remains today though, not a bad film, the best known version of an often filmed tale.

Randolph Scott plays an American adventurer who, with Nigel Bruce as his sidekick, travels to the foreboding frozen wasteland above the Arctic Circle in search of a mythical flame. There he encounters She, queen of an unknown land who seems to defy time.

This film , based upon a novel, is straight from the fantasy/sci-fi world of Edgar Allan Poe and Edgar Rice Burroughs. The story is a simple one. While watching this film, I saw visual references to King Kong (1933)and Tarzan The Ape Man (1932). Helen Mack, who plays the love interest, was in Son of Kong (1933). Certainly there are parts of this film that may have inspired other films that followed: The Wizard of Oz, Journey to the Center of the Earth, or The Time Machine. I loved the scenery and the special effects. Some sets looked like a cross between a Maxfield Parrish painting and a Flash Gordon set.

Some of the pageantry and dance sequences were reminiscent of Busby Berkeley's work, which was probably an influence.

Some have criticized this film due to its failure to remain true to the original novel. The film should be judged on its own merits. As to why the setting was changed from Africa to the Arctic, I surmise that the Tarzan series of films might have seemed heavy competition for any film about Africa at the time. There was also a great fascination with the Arctic dating back to the early 19th century. They certainly did a magnificent job with the glacial scenery.

Though the film gets a little wordy and slow near the end, the visual imagery is a treat throughout. This film is well worth viewing.

"She," adapted from H. Rider Haggard's timeless tale, has been produced multiple times, although never as entertainingly as the 1935 version, starring the imposing Helen Gahagan as She-Who-Must-Be-Obeyed, the eternally beautiful ruler of the lost kingdom of Kor. This would be the only film appearance of Gahagan, a noted stage and opera star who later entered the political arena as Helen Gahagan Douglas. Reportedly, Gahagan was embarrassed by the movie and vowed never to heed Hollywood's call again. But perhaps she was her own severest critic, since "She" represents Depression Era escapism at its very peak.

The movie was produced by Merian C. Cooper, who'd struck it rich two years earlier with "King Kong." Those with sharp eyes will note that the enormous gate cutting Kor off from the outside world is the same one which served -- for awhile -- to hold Kong in his natural habitat on Skull Island. This outrageously opulent adventure tale stars the stoic Randolph Scott as American explorer John Vincey, who ventures into the Arctic to find the story behind a cryptic, 500-year-old letter. Accompanying him are the jolly Holly (Nigel Bruce, later to become a familiar face as Dr. Watson in the Nigel Rathbone "Sherlock Holmes" movies) and the feisty Tanya (Helen Mack), who's secretly attracted to John.

After surviving an avalanche and battling cave-dwelling cannibals, the intrepid trio comes face to face with a much greater danger, the imperious She, who has been bathing in a flame of eternal life and biding her time for centuries, looking for true love. "I am yesterday and today and tomorrow," She muses, shortly before deciding John is the man worth waiting half a millennium for. Tanya, however, has other ideas. Thrillingly scored by Max Steiner and featuring backdrops you won't believe (check out the patio of Holly and Tanya's apartment), the movie climaxes with a dazzling ceremony in the Hall of Kings, featuring hundreds of extras performing some of the most bizarre choreography ever filmed. That sequence alone would make the movie worthwhile, but it turns out to be only one of the many treasures of "She."

Randolph Scott is his usual stiff but smiling self as Leo Vincey, the long-lost American heir to a British family legacy, sent by his estranged father to reclaim the legendary "Flame of Life," discovered five centuries ago by his explorer ancestor. Producer Merian C. Cooper, best known for directing King Kong, changes the locale of H. Rider Haggard's classic adventure from Africa to the Arctic (which, apart from a spectacular avalanche, looks positively stage-bound), but he pulls out all stops for the magnificent underground kingdom hidden in the icy mountains, complete with a cavernous throne room with vaulted ceilings and a massive staircase that would look right at home in the Ziegfeld Follies. The cruel She Who Must Be Obeyed (Helen Gahagan) is a beautiful but icy queen driven ruthless by her centuries of loneliness. The film takes some time to get started but once She makes her impressive entrance through a mist-enshrouded arch, we're plunged into a dangerous, exotic world of strange ceremonies, human sacrifices, nefarious plots, and the gorgeous whirlwind of light that is the Flame of Life. Though the dialog is often flat and uninspired and the performances by Scott and Gahagan rather arch (costars Nigel Bruce and Helen Mack fare much better), this grand adventure concludes with a rousing climax full of impressive set pieces and breathtaking effects.

I chose to watch the colourized version of this 1935, fantasy-adventure story. I was mainly interested in watching "She" because it was produced by Merian Cooper who, 3 years earlier, had dazzled and terrified movie-audiences everywhere with that all-mighty, movie classic, King Kong.

Unfortunately, "She" was a pretty tame and, yes, mediocre follow-up to the likes of King Kong, where only on but a few occasions did it ever come close to living up to its anticipated potential.

By its general appearance (due to some very outlandish, over-sized, art deco sets), "She" actually reminded me a lot of the Flash Gordon Serial which was popular movie-fare during this same time-line in movie-making history.

All-in-all - I neither loved "She", nor did I loath it. It was OK, at best. And, yes, it was certainly worth at least one view.

Far to the north of Siberia's Arctic Circle lies the hidden fertile kingdom of the female known only as SHE. Ruling by terror her empire of the imagination, She is the protectress of a great secret - The Flame of Eternal Life. Having bathed in it, she is the recipient of everlasting youth & beauty, but her heartache is unending as well, having lost her one true love 500 years ago. Then, one day, a tiny group of explorers stumbles within her grasp...

This is an excellent fantasy film, based on the novel by Sir H. Rider Haggard, and in the grand tradition of his KING SOLOMON'S MINES. The film boasts action, adventure, fine special effects & sets and the thought provoking enigma of interminable, undying desire.

Helen Gahagan, in her only film, is striking in her portrayal of She, a woman as tragic as she is blessed - to whom others' paltry, transient lives mean nothing. Randolph Scott, as the direct descendent & physical embodiment of She's long dead lover, is good in a role that calls for lots of energy. Nigel Bruce is very fine, as usual, this time playing the scholarly friend accompanying Scott on the search for The Flame. Helen Mack is well-cast as the young lady who finds herself caught up in the adventure.

Movie mavens will recognize Samuel S. Hinds as Scott's obsessed, dying uncle; Lumsden Hare as an unsavory Arctic trader; and Gustav von Seyffertitz as She's major-domo. Also in the uncredited cast are silent film star Noble Johnson in another of his chameleon roles, this time as the chief of the cave savages; and Olympic champion Jim Thorpe as She's Captain of the Guard - his attempt at Hollywood stardom only led to parts like this.

Special mention should be made of Max Steiner's throbbing score, which, like his KING KONG masterpiece, beautifully punctuates the action.

Leo Vincey (Randolph Scott), told by his dying uncle (Samuel S. Hinds) of a lost land visited 500 years ago by his ancestor, heads out with family friend Horace Holly (Nigel Bruce) to try to discover the land and its secret of immortality, said to be contained within a mystic fire.

The film was produced by Merian C. Cooper, who had previously made "King Kong". Apparently, this film initially lost $108,000 and only made up the difference upon its re-release in 1949. Not a bad film, I am unclear why the audience was not as receptive the first time around.

Eventually, the film had two remakes: one with Peter Cushing and another set in a strange post-apocalyptic world with werewolves. But there is nothing wrong with the original, and we must thank Buster Keaton for getting it preserved and Kino for presenting it to the world yet again.

You've probably seen the 1965 remake She starring Ursula Andress. If you liked the Technicolor, sex-focused splendor, you probably won't like the original. But if you like old adventure movies, like the original The Prisoner of Zenda, The Last Days of Pompeii, or The Lost World, you'll probably get a kick out of it.

Merian C. Cooper, the director of King Kong, produced his usually expected level of special effects. This is an adventure flick with tons of sets and excitement as the expedition brings Randolph Scott, Helen Mack, Nigel Bruce, and the other explorers closer to the holy grail. No, this isn't Indiana Jones, but it's entertaining if you're used to old movies. Don't expect too much from the acting, either. It was exciting at the time, but now it's looked at as a B-picture.

Anyone who loves epic music in pictures must see, or at least hear, this movie, which has little enough otherwise to recommend it other than its often striking visual inventiveness. It is, in a sense, the feminine flip side to "King Kong", and even shares certain thematic elements. My perspective is a bit unusual; I fell in love with the music when I was 16, years before I actually saw the film, by way of scratchy old transcription discs taped and distributed by the Max Steiner Music Society ages before "movie music" had won the respect it now enjoys. Steiner's score is in his most expressionistic mode, highly akin to "Kong" but more operatic; there is even a full-scale ballet in the last act! The music is a perfect accompaniment to Haggard's novel, of which I am also very fond despite its old-fashioned elements. I have this marvelous fantasy of a new remake, faithful to the book, with a new recording of Steiner's score! Alas, not too likely. Both the novel and the music are of an earlier age probably not commercial enough today. Helen Gahagan was actually an opera singer (years before becoming the famous "pink lady" of the Nixon campaign for California!) and her approach to the part is remote, perhaps more suited to a silent movie. Cinematographer Roy Hunt positively roasts the woman with light in an effort to give her an otherworldly quality. Randolph Scott and Helen Mack are both in way over their heads, although subsidiary actors like Samuel Hinds, Lumsden Hare, Noble Johnson and the immortal Gustav van Seyffertitz come off rather better. Nigel Bruce does his standard pompous British ass, which is a pity, as he was capable of much better. The decor is great fun: this is the palace of the Emperor Ming the Merciless' dreams, if only he'd had the budget! But the superb score overrides all else. It would probably not be appropriate for me to openly hawk CDs in this place, but the original soundtrack of this picture is available from Brigham Young University archive. Beg, borrow or steal it today! The ballet sequence is as powerful as anything in Stravinsky, and no higher praise is possible. A pity the movie is not equal to its soundtrack; but that's a problem Steiner ran into more than once in his career.

By today's standards, this is a pretty bad movie. However, for lovers of classic Hollywood films (particularly escapist adventure movies), this is a very rare treat--and thanks to Buster Keaton for saving a single copy so we can see this amazing flick today.

The film begins in Britain. An American young man (Randolph Scott) has been called back to his ancestral land to see his Uncle--a man he has never met. The Uncle is dying but wants to convey a strange story to him--a story about a distant relative who disappeared 500 years looking for a magic radioactive flame that has the ability to keep someone young forever. Scott is somehow convinced to leave with his Uncle's good friend (Nigel Bruce) in search of this odd flame. Along the way, they meet up with a nice lady (Helen Mack) and they head to the mountains to where this relative went centuries earlier.

Once they find this fanciful land, they and the audience are in shock to see amazing sets, weird and highly choreographed dancing, "King Kong"-like sets and a very bitter woman who is "She". It seems that She has been waiting for Scott to arrive...waiting 500 years for his return! Unfortunately, She is also a very bitter and nasty lady--and yet she offers him the secret of eternal life! The film is crazy to watch today because of the incredible scope and sense of silly escapist fun--something you rarely ever see any more (except, perhaps, with the Indiana Jones films). It evokes a fun time in film making when movies like "Lost Horizon", "The Cobra Woman" and serials were all the rage. Sure, the dialog is a bit heavy-handed and silly and the dancing is darn funny--but it's also very captivating and pleasant fun.

Oh, and the film's female lead, Helen Gahagan, later was famous as the woman Richard Nixon beat through a rather disreputable smear campaign. In response, she coined the term "Tricky Dick Nixon".

My heading is not intended to be derogatory: kitsch has its place,or I should say, had its place in Hollywood output of the 1930s. I first saw SHE at a revival house during my undergraduate years in college, and kept a strong memory of individual scenes for over fifty years. It was interesting to have another opportunity for viewing recently. I do remember that my friends and I thought of it in those early years much in the way today's audience regards the so-called "cult classics": a lot of fun if you didn't take it too seriously as either drama or film artistry. Now,the elements I noticed first are the pseudo-primitive music and "choreography"; the large-scale pseudo-Art Deco set design; and the mediocre quality of the performances, with the exception of von Seyffertitz (who for some reason not explained spoke the English the people of SHE's kingdom had learned from a British explorer) and Nigel Bruce before he became the Dr. Watson steretotype. For me, it is pure kitsch, and still enjoyable at that level. I note that another review compares it with King Kong. The only comparison I can see is that they used the same gate to enter SHE's kingdom that they used to keep out Kong. In his earlier work, still a classic today, whether by intention or not, Cooper found in Kong's story of a king turned into a circus attraction a statement about the tension between the primitive state of nature and urbanized society: not to the advantage of the latter. Despite all comments above, I still value SHE for what it is, and recommend it to anyone who has the opportunity to take it in.

Released in 1935 and loosely based on H. Rider Haggard's novel, "She" stars Randolph Scott and Nigel Bruce as explorers leading an expedition to the Arctic to find a lost civilization. Helen Mack hooks up with them at some point. The journey leads to a quasi-immortal queen of some sort with Julius Adler playing her high priest. The hulking Noble Johnson is on hand as the Amahaggar chief.

I saw the original B&W version, but there's also a colorized version, which I'd rather see since I find B&W to be a flat presentation for cinema and a lavish adventure pic like this deserves color. With the exception of the directors, the production team is the same as 1933's "King Kong" with Merian C. Cooper producing, Ruth Rose scripting (along with Dudley Nichols' added dialogue) and scored by Max Steiner. Speaking of the latter, the music is outstanding, particularly for such an old flick. You can tell that the adventurous adult tone, the sets and the music were a big influence on Gene Roddenberry's original Star Trek.

In regards to "King Kong," this is sort of the feminine flip side to that hallmark adventure fantasy. The architectural sets were influenced by cubism, expressionism, and art deco. The tribal dance sequence in the third act is a highlight, combined with the excellent score for an entrancing experience, as potent as anything by Igor Stravinsky.

An aged yet youthful-appearing queen thinks that she has found her Shangri La, but something unexpected is in store. The flame of life can only last so long before it dies out due to ill-character of the power mad, vain, jealous and possessive queen. She's living in a fool's paradise and is as tragic as she is blessed. Her arrogance, acquired over hundreds of years of unchallenged rule, makes her view others' lives as paltry and transient. Vanity gets a real spanking with some remarkable F/X for the era. In the book, Ayesha was more stunningly imperious and not just a pasty control freak.

She, by the way, is played by Helen Gahagan, a stage actress and opera singer who only made this single film before going into politics and championing migrant workers in California as a Democrat before the party became the Demoncraps. She had a not-so-secret affair with Lyndon B. Johnson on Capitol Hill and coined Nixon's nickname "Tricky Dick." While she's actually rather plain-looking, she has an impressive mane and a powerful presence; She could be the prototype for the wicked queen in "Snow White" or the evil Maleficent.

The African setting of the book was obviously changed to the arctic so as not to compete with the popular Weissmuller Tarzan series that just released the hit "Tarzan and His Mate" the year before. There was also a great fascination with the arctic at the time dating back to the early 19th Century. They certainly did a good job with the studio-bound sets, giving the illusion of the arctic, except that you can't see the characters' breath.

If you have a taste for 1930's adventure epics like King Kong, Gunga Din (1939), and King Solomon's Mines (1937), you will probably appreciate "She." The Hammer version from 1965 isn't as lavish or compelling, despite the quality cast with Ursula Andress in the titular role; it's also straddled with a lousy score.

The film runs 101 minutes (original) and 95 minutes (reissue) and was shot entirely at Prudential Studios, Los Angeles, California. DIRECTORS: Lansing C. Holden & Irving Pichel.

GRADE: B

This is an uneven movie, with an uneven script and uneven acting (Randolph Scott is particularly unconvincing too much of the time), but its strengths are remarkable.

She's music and sets are astonishingly good. Steiner's score is aptly suited to the twists and turns of the action, and at times it even sounds as though there's a theremin playing, although it's probably just a violin at the high end of its range. (Note/wuestion: why doesn't the spellchecker for a film website not recognize the word "theremin"? Surely that instrument has been used to notable effect in many movies.)

The "natural" sets (ice cliffs, snowy plains, and spooky caverns) are dramatic and artful, and the architectural sets, influenced by cubism, expressionism, and art deco, are among the finest pieces of design in the history of film. The abstract costumes of the inhabitants of She's kingdom (desighed by Aline Bernstein) are also breathtaking in their stylishness and imaginativeness. The lighting and cinematography is also noteworthy, and the special effects are very good for their time.

This may sound like I'm dwelling on peripheral issues, but when the score, art direction, and camera-work are this inventive, they turn an OK film into a wonderful one. Few movies have ever been such delights to the eye and ear.

Just re-watched SHE, both the original B&W and colorized versions side by side. The colorized version makes this campy film come alive - it's awesome. Although I always prefer original B&W prints, the colorized version of SHE is a rare exception

Beautiful matte & glass paintings, and art deco & expressionistic sets, are the highlights of this fantasy adventure.

The main shortcoming of this film is that it's too much a product of its time in its abjectly racist depiction of "savage" natives (as was the previous Cooper production, King Kong). It's a bit difficult to stomach these days.