This feature film serves as an adaptation of the eponymous historical novel authored by the Polish writer Bolesław Prus. Both the cinematic work and the literary piece explore the life of a fictional pharaoh, Ramses XIII—the last historical pharaoh to reign in Egypt under the name Ramses was Ramses XI, who belonged to the 20th dynasty. The narrative follows young Ramses XIII as he embarks on a series of reforms aimed at modernizing Egypt following his father's death. In pursuit of this objective, the pharaoh seeks to liquidate a portion of the treasures held by the clergy. He resolves to assume roles of authority traditionally reserved for the clergy, which leads to a central conflict between himself and the priests. Among these priests, Herhor, the high priest of Amun, emerges as Ramses' principal adversary.
The initiative to adapt Boleslaw Prus' novel for the screen commenced well before the film's production. In the late 1940s and early 1950s, a collective of filmmakers, including Kawalerowicz, conceived the idea of transforming the novel into a cinematic work. However, it was not until a decade later that Kawalerowicz would independently pursue this endeavor, culminating in the approval of the screenplay in 1961, co-authored with Tadeusz Konwicki. By this time, Kawalerowicz had already attained significant international acclaim for his film Mother Joan of the Angels.
This particular film, which is frequently regarded as one the most preeminent feature films depicting ancient Egypt, emerged from an extensive production process. The majority of filming took place in the former Soviet Union, with palace scenes recorded on constructed sets in Łódź, Poland. The Nile was simulated at Kirsajty Lake in Poland, where tropical vegetation was cultivated to emulate the flora typical of the Nile River. Numerous desert scenes were filmed in Uzbekistan's Kyzylkum Desert under extremely challenging conditions characterized by high temperatures and various risks associated with shooting in a hostile environment.
The decision to film in the deserts of the Soviet Union was primarily motivated by budgetary considerations, as this location proved significantly more economical than relocating the entire crew to Egypt for an extended duration. The preparation of the film sets in the desert commenced in the spring of 1964, with principal photography taking place between June and October of that same year. The Soviet production company Mosfilm contributed several thousand extras to portray soldiers within the film. As I will elaborate on subsequently, this production exhibits remarkable aesthetic attention: to achieve the desired visual impact, cinematographer Wójcik and director Kawalerowicz embarked on a journey during the summer of 1962 to various deserts worldwide, including those in Morocco, Egypt, Turkmenistan's Karakum desert, and ultimately Uzbekistan's Kyzylkum desert. Additionally, certain scenes were filmed in Egypt, notably around the Pyramids of Giza. From both aesthetic and narrative perspectives, this Polish production continues to resonate effectively on screen today. The film has undergone digital restoration, allowing viewers to fully appreciate its exquisite imagery—elegant and nuanced in every movement of the actors.
Concerning the representation of ancient Egypt, the film exhibits a meticulous and profoundly thorough reconstruction of its sets. It benefited from the expertise of renowned Egyptologist Kazimierz Michałowski. Unlike the ornate style prevalent in other major productions, such as Cleopatra (1963), this film adopted a more minimalist approach. The art directors endeavored to establish an austere yet elegant aesthetic that encapsulated essential elements of the Egyptian civilization. The film's sets feature minimal fantastical components, as extensive research was conducted prior to filming to ensure archaeological authenticity. This research encompassed all aspects of Egyptian art and civilization from the XVIII to the XX dynasties. Regarding costume creation, designer Barbara Ptak detailed how numerous materials were transported from British museums to the filming location in Łódź. The director exhibited exceptional attention to visual accuracy by selecting actors who embodied the Egyptian ideal of beauty during Akhenaten's era; notably, he chose performers with aesthetically pleasing shaved heads for the roles of priests. Kawalerowicz also meticulously considered the body movements characteristic of individuals living in tropical climates to authentically translate these nuances into his film.
Ultimately, light assumes a significant role within the film. Nearly all scenes are set during daylight, with the exception of those depicting the solar eclipse, wherein a pronounced and vivid outdoor luminosity prevails. As articulated by Wojzic: "It became clear to me how Pharaoh needed to be photographed. Nothing was an obstacle for me, everything was helpful to me. I was helped by the heat of the sun and the colour of the sand. I was helped by everything that was in the sky, above the horizon. It wasn’t a problem of colour, azure or blue, but just the notion 42 Pharaoh of clarity, which was close to me. I knew it had to be a big statement related to the presence of light, the controlling light. This became clear, and all of the technical problems were merely the result of this kind of reasoning. Jerzy Kawalerowicz interpreted it all brilliantly and adopted it as his own. It was also his great presence".
The film possesses a political interpretation that is intrinsically linked to the historical context of its production period. In 1966, there existed a significant conflict between the communist regime and the Polish Catholic Church. Kawalerowicz's film was utilized in this regard, narrating the tale of a youthful ruler aspiring to modernize his nation while facing opposition from an influential church.

Author: Guillermo Juberías