I like the storyline of this show,it attract me so much

This film is so real. It treats its characters with so much care and sensitivity.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

one of many historical theme "B" films from "60. not memorable but correct. a dramatic love story, the beauty of Jeanne Crain, the duty, more important than the love, Vincent Price in a role using his skills for bad guys. and decent atmosphere, funny fight scenes, Edmund Purdom in a role who remains sketch for a Charming Prince. Nefertiti has the virtue to be perfect answer to the nostalgia of films "B" fans. large slices of romanticism, lost historical accuracy, seductive - and unrealistic - end. enough for a nice show.

After "Samson and Delilah" in 1949, Hollywood began a love affair with biblical epics which ultimately lead into other stories of ancient times. Whether "sword and sandal" or tales of real-life Greeks or Egyptians, this genre has never gone away, and it never fails to amaze me how unintentionally camp many of these films turn out to be some fifty years later.With Elizabeth Taylor's "Cleopatra" on the way out from 20th Century Fox (and covering pretty much every day of film-making it had in the press), movie makers turned to rip-offs to get into the mix. Jeanne Crain, the darling of 20th Century Fox in the 1940's and 50's, was still attractive by the time this was made, but probably still a bit long in the tooth to be believable as an innocent young Egyptian maiden who ends up becoming Pharaoh's wife and ultimately one of Egypt's most powerful women outside the late B.C. queen who really found a pain in the asp.Where there's sand, togas and barges, there's bound to be camp, and in "Queen of the Nile", that comes with the presence of Vincent Price as the High Priest who forces his daughter Nefretiti into the court of the pharaoh at the threat of the life of her real love. Price over-chews his dialog and wears so much make-up and beads that I can only compare him with Judith Anderson's Herodias from "Salome". Both characters had desire for power they couldn't have on their own so they utilized others to have it, much to the chagrin of the unfortunate people around them. In retrospect, Price actually seems to be in drag, making me wonder who the real Queen of the Nile was.While the English speaking actors are obviously speaking their native tongue, the Italian actors mouths seem to be speaking English too but the voices are obviously not their own. Amedeo Nazzari is Pharaoh Amenophis IV, an absolute weakling totally dominated by Price's Benakon who would have been home committing evil along side Sian Phillips' Livia from "I Claudius". Livia was much more subtle in her evil, but Price chews every line as if he was still quoting Edgar Allan Poe in those fun-filled horror films he was doing over at American International. Edmund Purdom, not yet recovered from playing "The Egyptian" years ago, does his best with the part of Nefretiti's lover, while Crain doesn't really get much of a chance to chew the scenery up. Yet, she still looks great in period costumes, and for that, this is worth giving a chance. There will be no doubt in the viewer's minds after seeing this that the violet-eyed Taylor was much more in command as Queen than the aging Crain was here.

Fernando Cerchio is not a director as famous as top Hollywood names of his time. Very few people know his films, partly because he has not become worldly famous. But it is important to state that he also made quite a considerable number of ancient epics, including this one, NEFERTITI, QUEEN OF THE NILE. What is striking at this point is that the movie is similar, almost identical in style, convention, colors to other Italian productions of that time, including GIUSEPPE VENDUTO DAI FRATELLI ("Joseph Sold by his Brothers") (1959), HANNIBAL (1959) and IL SEPOLCRO DEI RE ("Cleopatra's Daughter") (1961). However, it is also similar to one American hit of its time...If you consider the content of the movie, you may be misled by its striking similarity to a Hollywood production made almost 10 years earlier by Michael Curtiz, "The Egyptian" (1954). Although this view turns out to be a bit exaggerated, it is partly true. There are two major aspects both of the movies have in common: the historical period the actions are set in (the time of a monotheistic religion in Egypt during the reign of Amenophis) and the main star, actor Edmund Purdom who played Sinuhe in Curtiz's movie. This time, however, he is not a physician who searches for the answer on psychological questions, but a lover... moreover... a lover of the queen. As a result, the film cannot be treated as the remake of Curtiz's film whatsoever since, except for the two aforementioned aspects, it is an ENTIRELY different film.The first major difference is the story itself. Tutmosis (Edmund Purdom), a sculptor, is in love with Tenet (later queen Nefertiti). At the same time, he is a dear friend of Amenophis (Amedeo Nazzari) and works as a sculptor. All changes at one night when the worshiper of a new God, one God Aaton, a prophet and priest Seper (Carlo D'Angelo) foresees the death of the Pharaoh and the coming reign of Amenophis. The prophecy comes true. The father of Tenet, Amon Ra priest Benakon (Vincent Price) plans a marriage of his daughter with the new Pharaoh. She is no longer Tenet, but Nefertiti, the Queen of the Nile. However, Tutmosis, an obstacle in the whole plan, is arrested and said to be dead but he soon escapes from prison and finds himself as a sculptor on the court. He is to sculpt the famous bust of Nefertiti which survives for centuries to prove the queen's magnificent beauty and great feeling to the man who really loved her. The end of the film concentrates on religious war in Egypt and shows the slaughter of Aaton worshipers (here, similarly like in the aforementioned movie, "The Egyptian"). The end, however, is quite optimistic. Nevertheless, the film lacks the grandeur, lavish sets, psychological ambiguity that the American productions of the time can boast.The cast of the film are not that famous actors and actresses like in most American movies of the 1950s and 1960s, but they perform quite well. Jeanne Crain is particularly great as Nefertiti, she is very beautiful and her face really fits to the role. Edmund Purdom does a good job as her lover, Tutmosis. Except for Amedeo Nazzari and Carlo D'Angelo who do not particularly shine in their roles, there is one more star worth attention - Vincent Price as Nefertiti's father, Benakon. There is something ancient in his face, something that we find in the mummies...Although the film is not a hit and does not have an outstanding cinematography, there are some memorable scenes that have remained in my memory for long. The first of such scenes is when Nefertiti listens in secret to the meeting of Amon Ra priests plotting against Amenophis and the new religion. She looks at them through the eye of the great statue of Sphynx and a mysterious Egyptian melody is being played as the background. Another scene is the dance of a harlot in the headquarters of the Egyptian army. I don't know if there are many films of that time which so sexually show the dance of a woman. And indeed very well played! Yet, the final shot is great, the camera moves from Nefertiti and Tutmosis kissing to the close-up of her sculpted bust. Intentionally, this is a symbolic reference to modern times when the bust can be still admired at the Egyptian museum in Berlin.Of course, NEFERTITI, THE QUEEN OF THE NILE (1961) is no masterpiece. If you expect much from this film after seeing the one about Sinuhe, you may be disappointed. Nevertheless, if you regard any historical epic worth a look, this film is really for you.

Mickael Curtiz did in 1954 an overlooked underrated adaptation of Mika Waltari's mammoth novel "the Egyptian".It already dealt with a monotheism close to Christianity which we find again here.The star was also Edmund Purdom but with a more celebrated supporting cast (Victor Mature,Jean Simmons,Gene Tierney).The slaughter of the new faith followers was much more impressive in "the Egyptian"and its screenplay more complex with a lot of subplots .Here it treads a rather tenuous line:Nefertiti -before she was called so- was in love with a sculptor (the one who made the famous bust ?)but alas her ambitious father,a priest, is busy making other plans for her.So she will go down in history ,but what price glory?It's fairly entertaining,but I would rather recommend Curtiz's work which was ,before "ten commandments" and " land of the pharaohs" the renaissance of the Egyptian sword and sandal.