The plot is a basic heist case that focuses upon a bank manager Fordyce (Cushing) and a thief Hepburn (Morrell) masquerading as a security director from the “home office”. But the story eschews genre tropes and becomes a paranoid and focused character study of the uptight and airtight banker Fordyce, locked in his own vault of personal horrors. Fordyce is an arrogantly small man who rules his staff with clockwork precision and attention, a micro-manager who is as infuriating as he is dull. Fordyce doesn’t demand respect since he doesn’t care what his staff thinks of him, he demands absolute obedience. He looks down his raptor-like nose at his employees, treating them with disdain and contempt. However, Cushing is able to mold his character into a complex human being, as the dark waters of neurosis boil to the surface. We see the man beneath the stoic mask. Hepburn is the gentlemanly and roguish thief, one who is seemingly driven to crime by the sheer pleasure of pulling off the perfect caper, but also a blunt man who will victimize for profit.
The film utilizes a static location to great effect, mostly set within the confines of the manager’s office, like a shrine to a peon, where a man over time has been reduced to a phantom haunting his own life, ethereal yet ghastly to his subordinates: it is the environment of a dead man who has yet to surrender the ability to breath. Hepburn is the devil with the details, he is the catalyst for Fordyce to recognize his weaknesses and offers him salvation. Though Hepburn is a thief whose intent is the 97,000 pounds, he seems just as interested in cursing his nemesis in order to save his soul. This is reflected in the final scene when Hepburn makes his confession and absolves Fordyce of sin. In this case, the profit belongs to Fordyce but not in a measurable way that can be jotted down in a accounting ledger.
Final Grade: (B)
The premise is rather ludicrous as Englishman Leo Vincey is stalked by a cadre of mad Egyptians, throwbacks to their ancient origins, ruled by an immortal matriarch who subjugates by fear and oppression. Leo somehow resembles the dead lover of Ayesha, murdered over two thousand years ago and identified by a forged profile on a golden amulet. I thought it looked like Bill Clinton, so maybe not the best evidence to base a civilization on. However, Ayesha is sure so she kidnaps Leo, gives him a ring and a map, and tells him he must traverse the burning desert and face many trials until he reaches the city of Kumar, where he will be rewarded with power, riches, immortality…and her sensuous embrace.
The trials consist of being lost in the desert without water, attacked by black robed marauders, and just general physical and emotional dehydration. I suppose the budget went to Ursula Andress and travel expenses for the location shooting, instead of some cool Harryhausen creature discomforts. The story devolves into a love triangle (that ends badly for the beautiful Ustane) with tepid dialogue and head-scratching infatuation. The set design is typical Hammer, reducing an entire civilization to a throne room and antechamber….and a bad matte painting.
SHE has a rather droll set of main characters but is supported by an excellent cast, including a cheeky Bernard Cribbins as Job, Cushing’s manservant and compatriot. Their fate is much more interesting.
Final Grade: (C)
