This movie serves as a noteworthy illustration of Egyptomania within the Italian peplum genre of the 1960s, a period marked by an abundance of historically inspired productions emerging from the Cinecittà studios. The film was helmed by the esteemed Italian filmmaker Fernando Cerchio (1914-1974), following his studies at the Accademia de belle arti and the Centro sperimentale di cinematografia (Rome). Notably, in his portrayal of Antiquity in cinema, Cerchio directed three peplums characterized by caricature and comedy: Totò contro Maciste (1962), Totò e Cleopatra (1963), and Totò contro il pirata nero (1964).
In 1961, he undertook the direction of Cleopatra, regina del Nilo, collaborating with distinguished professionals such as cinematographer Massimo Dallamano and renowned costume designer Giancarlo Bartolini Salimbeni, one of the leading figures in Italian peplum cinema.
The movie delves into one of the most renowned eras in Ancient Egyptian history, frequently depicted in literature and film: the Amarna period. It focuses primarily on Queen Nefertiti’s character. However, the portrayal of Nefertiti’s reign here is presented as an anomaly, a transitional phase between two periods of male dominance.
As a point of interest in the narrative, this film notably highlights the queen in a prominent role, depicting the pharaoh Amenhotep IV/Akhenaton as inept and decadent. It is worth mentioning that this and other Italian peplum productions take numerous historical liberties. These works are not reliable sources for historical accuracy or archaeological evidence; they should be viewed as standalone artistic creations with their own unique essence.
The portrayal of Queen Nefertiti by Jeane Crain in the film was heavily influenced by Mika Waltari’s novel The Egyptian published in 1945 and later adapted for the screen by Michael Curtiz. This cinematic representation also reflects the scholarly interpretation emerging from the 1920s onwards regarding Akhenaten’s personal life, suggesting a possible homosexual orientation. Previously viewed as a conventional family man during the nineteenth and early twentieth centuries, Akhenaten’s characterization evolved towards considerations of his potential homosexuality.
While Italian cinema of the 1960s could not overtly depict Akhenaten’s homosexuality, it subtly hinted at it through his apparent lack of romantic interest in Nefertiti. The movie implies this theme further by portraying Queen Nefertiti’s affection for sculptor Thumos and her evident disinterest in Akhenaten, a plot point that may derive from H. Rider Haggard’s ‘Smith and the Pharaohs’ (1912-13), which likewise features the wife of a pharaoh harboring romantic feelings for a sculptor rather than her husband. Despite its artistic merit, this film did not receive significant critical acclaim and is notably absent from major compilations on Italian cinema.

Author: Guillermo Juberías Gracia