The first part of the Lost Race filmography is dedicated to films based on all works by H. Rider Haggard, lost race or otherwise; whereas Part II (Burroughs) and Part III (miscellaneous) are restricted to films about Lost Civilizations, Cities, or Races. Also among the films founded on works of Haggard, I have included representative "close imitations" like the Indiana Jones films that swipe scenes from film versions of H. Rider Haggard's She or outright homages to Haggard such as Michael Crichton's Congo.
Also included are the six films, plus a television production & a film spoof, based on Pierre Benoit's 1919 novel L'Atlantida, which became a bestseller in France but was soon challenged as a plagiarism of She. Benoit in a pique over the criticism took the matter to court, but promptly lost & had to pay the court costs himself because his source looked too obvious, though the book he actually plagiarised was not so much She as it was Haggard's less well known The Yellow God, which like L'Atlantida was about a subterranean immortal queen who mummifies her serial husbands. It should be said that champions of Benoit, an author of considerable merit on his own, did not read English, & could not have read The Yellow God that had not translated into French in his lifetime. A champion of Benoit sides with him utterly in Jean-Marc Lofficier's on-line article The Haggard-Benoit Controversy which convinced me at least that Benoit's plagiarism had to be indirect & unintentional, but Jean-Marc goes a bit far denying that the close plot parallels even exist, insisting there was no Haggard influence which is scarcely possible for any all-powerful Queen-ruled lost race novel after She, & relies too much on the manifestly untrue notion that no one ever knows the plotlines of popular authors' novels without personally reading them. It is too bad the suit-happy Benoit took a critic to court over the allegation, as he cemented his reputation as a plagiarist by so doing. Haggard himself did not mind that scores, even hundreds of authors were writing their takes on themes he formalized, & did not regard himself as the sole owner of the thematic material.
I've also appended a small list of old time radio adaptations of Haggard. I am sure there were far more adaptations than I've thus far been able to document.
These three filmographies are an ongoing project. I will be thrilled to receive corrections & additions from anyone.
ALLAN QUATERMAIN. 1919. Silent film by [South] African Film Productions, Ltd., based in the 1887 novel of the same name. Directed by H. Lisle Lucoque. Starring Hal Lawrence (Allan), Mabel May (Nylephtha), Elise Hamilton (Sorais), Halford Hamlin (Henry Curtis), Ray Brown (John Good), Umpikayiboni (Umslopogaas). Rider was present for a private screening on All Hallow's Even in 1919 & wrote of it in his diary, "It is not at all bad, but it might be a great deal better." No print is known to survive but stills are preserved in a South African film archive. See also Watusi & King Solomon's Treasure based on the same novel.
ALLAN QUATERMAIN & THE LOST CITY OF GOLD. 1987. This sequel to the 1985 film King Solomon's Mines & loosely inspired by the 1887 lost race classic novel Allan Quatermain upon which the 1976 film King Solomon's Treasure was also founded. The sequel again stars Sharon Stone, this time hoping to find her lost brother rather than her husband, & Richard Chamberlain as Quatermain finding a lost civilization ruled by Queen Nyleptha (Aileen Marson)James Earl Jones & Cassandra Peterson (better known as Elvira) put in appearances. Critics raved "all camp with the added bonus of being boring" & "a major embarassment for all." Recycling footage from the 1985 film doesn't help.
ANTINEA. 1961. Or Antinea, l'amante della citta sepolta the Italian release title for the French/Italian co-production Journey Beneath the Desert which see.
L'ATLANTIDA. 1920, France. Silent film directed by Jacques Feyder, also known as Lost Atlantis. Based on the 1919 novel by Pierre Benoit about the survival of Atlantis underneath the Sahara, discovered by two Foreign Legionaires (Jean Angelo & Georges Melchior) who must contend with the Atlantean queen (Stacia Napierkowska). Unusual for the period, this was shot on location in North Africa. Much the best of four film versions of Benoit's book. In France Benoit's novel became embroiled in controversy since Queen Antinea was recognized by just about everyone as Haggard's She-Who-Must-Be-Obeyed, though fewer recognized the plotline was derived from Haggard's 1909 The Yellow God.
L'ATLANTIDA. 1932, Germany & France. Released in Germany both as L'Atlantida & as Die Herrin von Atlantis, in France retaining the French title of Pierre Benoit's 1919 novel L'Atlantida & released in the UK/US as Mistress of Atlantis. Directed by G. W. Pabst. An entrance to Atlantis is found in the Sahara desert. Brigette Holme, best known as the sensuous robot in Fritz Lang's silent classic Metropolis plays the immortal Atlantean queen Antinea, who has kept all her mummified husbands. Like the original version, shot on location in the Sahara.
L'ATLANTIDA. 1949. See Siren of Atlantis.
L'ATLANTIDA. 1950. See Toto Sceicco.
L'ATLANTIDA. 1961. See Journey Beneath the Desert.
L'ATLANTIDA. 1972. French television movie. Directed by Jean Kerchbron. Starring Jacques Berthier & Denis Manuel as the Legionaires, & Ludmilla Tcherina as Queen Antinea. She had previously played Antinea in a ballet version by Henry Tomasi.
L'ATLANTIDA. 1991. Directed by Bob Swain. Starring Tcheky Karyo & Christopher Thompson as the Legionaires, Victoria Mahoney as Queen Antinea.
ATLANTIS, CITY BENEATH THE DESERT. 1961. Alternate title for Journey Beneath the Desert which see.
AYESHA, DAUGHTER OF SHE. 1961. See The Vengeance of She.
AYESHA, THE RETURN OF SHE. 1961. Variant title of The Vengeance of She which see.
BEATRICE. 1920. Directed by Herbert Brenon for an Italian studio, Unione Cinematografica Italiana. It starred Canadian actress Marie Doro as Beatrice & Sandro Salvini Geoffrey as Bingham. Based on Haggard's 1890 domestic novel. The film was first shown in the USA in 1921 as The Stronger Passion. Rider had a private viewing of it in April of 1921, & wrote in his diary some praise of the main actress's beautiful eyes, "but for an author the experience as usual is somewhat heartbreaking" & blamed "ignorant careless adaptors" for its failure. He attended the first public viewing on May 3rd & was not so hard on it after this viewing: "On the whole it was adequate & Miss Marie Doro made a beautiful & pathetic Beatrice. Still one could pick holes as doubtless the critics will do in due season."
CLEOPATRA. Poster ads gave the longer title Cleopatra, The Siren of the Nile. First released about 1917, though it was suppressed in England in 1920 as Fox had never gotten permission to adapt it. At first Fox Films claimed they had not pirated it from Rider's 1889 historical novel; rather, they claimed to have based it on a play by Sardou & on Shakespeare. The borrowings were too shameless, however, & after legal action against Fox that took two years, Rider had a windfall of two-thousand pounds from the British distributors, though he could not stop Fox from continuing to show it in America. Theda Bera played Cleopatra & judging by the surviving stills & the beautiful fragment preserved by the Toronto Film Society & the George Eastman House, it was her most exciting sexy roles of many that were stunning. Sadly the stills are all we have, though some few silent film fans still hold out hope that a print will eventually turn up. Also starring Fritz Leiber (father of the science fiction author) as Caesar, & Thurston Hall as Marc Antony. Directed by J. Gordon Edwards.
LA DANSE DU FEU [or] LA CALONNE DE FEU (Dance of Fire/Pillar of Fire). 1899, 1 minute French silent. Directed by cinematic pioneer George Melies, based on the climactic scene in She & starring Melieus's wife, Jeanne de'Alcy, as Ayesha.
CONGO. 1995. Directed by Frank Marshal & based on the Michael Crichton novel of the same name, this is the story of a modern quest for King Solomon's Mines as described by Haggard. Crichton's book is overtly an homage to Haggard & the persistent reference points to Haggard's King Solomon's Mines are preserved throughout this entertaining movie. A female gorilla that knows sign-language a la Koko has been additionally equipped with a backpack computer that translates sign language into a girlish voice. A communications expert (Laura Linney) joins an expedition of a scientist (Dylan Walsh) returning his beloved tame gorilla to its home, & a fortune hunter (Tim Curry), seeking for the Lost City of Zinj. They discover that an evil subspecies of subterranean meat-eating killer gorillas still guard the ancient ruins & treasure. Of course all the actors are upstaged by gorilla costumes & when the talking gorilla expresses herself with maximum indignation telling her flesh-eating cousins they are, "Bad gorillas!" no other scene is ever going to match that. If they hadn't killed Indiana Jones impersonating Bruce Campbell early in the story they might've had at least the one actor as good as a fake ape.
CITY BENEATH THE DESERT. Alternate title for JOURNEY BENEATH THE DESERT.
CONGO BILL. 1948 fifteen chapter seriel. Dong McGuire plays Congo Bill, who sets out to find Ruth Culver (Cleo Moore) who was lost in the jungle as an infant & raised as the white queen Lureena deep in Africa. Based on a comic book character featured in Action Comics created by Whitney Ellsworth, with Queen Lureena inspired by Burroughs' Jungle Girl & Haggard's Ayesha. The comic book character was quite a bit different than the filmed version. In the D.C. Comic, Congo Bill had a magic ring that permitted him to transfer his mind for short periods of time into the body of a golden gorilla, & there was also the hidden City of Gorillas, inhabited by a species of ape that had developed into a higher civilization.
LA DANSE DE FEU. 1899. See under Calonne de Feu.
DAWN. 1917 silent film directed by Horace Lisle Locoque, based on Haggard's first novel Dawn (1884). Starring Mildred Carr (Karina), Hubert Carter (Devil Caresfoot), Madeline Seymour (Angela Caresfoot), Edward Combermere, R. Heaton Grey, Annie Esmond, Frank Harris & George Snazzelle. A print is preserved in the Netherlands Film Museum, Amsterdam.
DRUMS OF AFRICA. 1963. Directed by James B. Clark. Starring Frankie Avalon & a cast of justly forgottens, findable on video. Not based on Haggard but recycles stock footage from the 1950 version of King Solomon's Mines.
FORGOTTEN SILVER. 1997. A New Zealand "Mockumentary" directed by Peter Jackson (Heavenly Creatures). Jackson plays a director who has discovered the missing works of a New Zealand silent film director Colin McKenzie, whose greatness rivaled D. W. Griffith. The film is terribly funny in presenting this fake film history, but it only falls under the H. Rider Haggard banner toward the end when Jackson sets off into Darkest New Zealand on a Quatermainesque quest to find the long lost silent movie set built by McKenzie for his greatest cinematic epic.
THE GRASP OF GREED. 1916 five-reel silent film directed by Joseph de Grasse. Based on Haggard's only criminous novel, Mr. Meeson's Will. Starring C. Normand Hammond (John Meeson), Jay Belasco (Eustace Meeson), Louise Lovely (Alice Gordon), Lon Chaney (Jimmy), & Gretchen Lederer (Lady Holmhurst). The year before, Frederick R. Sullivan directed a different version which retained the original title, which see.
HEART & SOUL. 1917 five-reel silent film directed by J. Gordon Edwards, based on the novel Jess (1887). Starring Theda Bera as Jess & Margaret Lairce as the young Jess in the prolog, & Harry S. Hilliard as Captain Neil. Also featuring Edwin Holt, Clair Whitney & Walter Law. The film has been in the video market from which modern viewers have thoroughly trounced it, even blaming it for Bera's downfall as a box office draw. The director changed the setting from Africa to Hawaii apparently only so that he could shoot it in Florida. Also see under Jess for two other films based on the same novel. No print is known to survive.
DIE HERRIN VON ATLANTIS. 1932, German. See Atlantida.
HIDDEN VALLEY. 1916. American silent film produced by Pathe, based on She & starring Boyd Marshal, & as "The Valkyrein," Mrs. Van de Witz.
HIS EGYPTIAN AFFINITY. 1915 two-reel silent film directed by Al Christie. Starring Victoria Ford as the Egyptian Princess & Eddie Lyons as her nameless lover. A spoof of She.
INDIANA JONES & THE LAST CRUSADE. 1989. This is the third of the Indy trilogy wherein Allan Quatermain is remade by Stephen Speilberg director & Harrison Ford actor into the archeologist & adventurer Indiana Jones. Sean Connery plays Indy's absent-minded-professor father whose name, Henry, patently tips the hat to Henry Rider Haggard. Professor Henry Jones found the Holy Grail, which can bestow eternal youth. He is kidknapped by nazis & it's up to Indy to save his father & keep the power of Jesus from Nazi control. Yeah, plot-wise it's much stupider than the earlier two films. It's all played for comedy's sake so not as intense an experience as Raiders of the Lost Ark, which is not to say it is less entertaining. It needed a little more fantasy & a couple fewer chase scenes if it was ever to come across as imaginative, but it'll do. In the opening sequences flashback to 1913 we get to see what kind of kid Indy was, as played by River Phoenix.
INDIANA JONES & THE TEMPLE OF DOOM. 1984, Paramount. Screenplay by George Lucas & Philip Kaufman; directed by Stephen Spielberg. The second Indiana Jones film is a prequel to the first, Raiders of the Lost Ark, set several years earlier. Spielberg & Lucus adapted the whole tone of Haggard in any scene that has mysticism or suspense (while he takes his cues for comedy sequences more from James Bond flicks). They even cribbed scenes from the 1935 film version of H. Rider Haggard's She. When quicky knock-offs were being rushed to market in order that other companies could cash in on the Indiana Jones craze, one company went full circle & brought out two films based on King Solomon's Mines both starring an inadequate Richard Chamberlain; it's only too bad this return to Indy's roots resulted in such awful movies that only made Indiana Jones seem the better by contrast. In his second film, Indy confronts the murderous Kali-worshipping Thuggee cult in India. The sacred object this time around consists of five mystical gems that bestow great power; sequences regarding the Mayapor village & mining caverns are right out of Haggard. Some critics regarded the results too gloomy & violent, which is perhaps why hypersensitive Spielberg made the third & final Indy film pure comedy.
JESS. 1905. An American silent film production based in the 1887 novel of Africa. I don't suppose a print has survived.
JESS. 1912. Three-reel silent based on the African domestic drama of the same title, set in Pretoria at the time of the Boer War. Directed by George O. Nicholls. Starring Margueriite Snow (Jess) who also played She Who Must Be Obeyed in 1911. Also featuring Florance LaBadie (Bess) & James Cruze (Captain Neil). Evidently no print survives.
JESS. 1914. Four-reel silent film based on Haggard's African domestic drama Jess. (1887). Starring Constance Crawley as Jess & Arthur Maud as Captain Neil. Maud also wrote the scenario & was probably the director. I can't find this on lists of lost films, but I can't find it on lists of available films either.
JESS. 1917. See Heart & Soul.
JOAN HASTE. Announced around 1920, a silent film based on the 1897 domestic novel, but probably never actually filmed. Phil Leibfred tells me in a correspondence of August 2001: "It isn't listed in either the British Film Catalogue or Rachel Low's History of the British Film, Vol. 3 1918-1929. ›These books are definitive, so if a film isn't mentioned in either, it was not made. ›I did find a reference to it elsewhere, but no more."
JOURNEY BENEATH THE DESERT. 1961, French/Italian international co-production. Directed by Edgar G. Ulmer. Inspired by French author Pierre Benoit's classic lost race novel L'Atlantide published in two separate translations in 1920, in America as Atlantida & in England as Atlantis (see under Atlantida for earlier films based on the same novel). The book was an apparent plagiarism of Haggard's novel The Yellow God (1908).
This film version stars George Riviere, Jean Louis Tritignant & Amadeo Nazarri as lost aviators who discover the entrance to Atlantis at a nuclear blast site in the desert, & have to deal with a menacing & beautiful Atlantean queen (Haya Harareet). Some quite good special effects & an evil queen make this better than most junk but it's still junk.
This has had several release titles. In Italy it was called Antinea, l'amante della citta sepolta & sometimes shown just as Antinea. In France it retained the title L'Atlantida. Alternate English titles have included Atlantis: City Beneath the Desert, or just City Beneath the Desert," also Lost Kingdom or Atlantis.
THE JUNGLE QUEEN. 1945. 13-chapter serial directed by Ray Taylor & Lewis D. Collins. A wartime adventure with evil Nazis up to no good in the jungle. The Haggard influence is clear in that Lothel, Queen of the Jungle, played by Ruth Roman, is manifestly an Ayesha knock-off with power sufficient to confront even the Third Reich. Also rather like Ayesha, she has the ability to walk through fire.
KING SOLOMON'S MINES. 1918, South Africa. Directed by H. Lisle Lucoque. Scott reports a private viewing of this silent film version having been arranged March, 1919, at St Leonards in London, which he believed to be a different production than Lucoque's which he dated 1916, but the 1916 film is apparently a phantom for the version released November 1918 in South Africa & May 1919 in England. Rider was present at another "trade screening" in May 12, 1919, & wrote later that day in his diary, "The Alhambra was crowded, & Mr Nesse, who is managing the affair, has just told me over the telephone that it was the most successful trade show that had ever been held in London. He said that during the whole performance only two people went out, which is the great criterion, & they had told him before that they must do so owing to an angagement. Nearly thirty-five years have gone by since this storiy was written by me & it is remarkable that it should still have so great a hold upon the imagination of the world. My belief is that it will live." Lucoque's adaptation was released by African Film Production Ltd. Albert "Hal" Lawrence played Allan Quatermain; H. J. Hamlin was Curtis; Ray Brown was Commander Good; Edna Joyce as the Queen of Sheba; Vivien Talleur was Gagool, Umpikayiboni was Umbopa, & Bertie Gordon was Foulata. A single print survives in a South African film archive.
KING SOLOMON'S MINES. First shown at the Gaumont Theatre, Haymarket, in July of 1937. Gaumont British Corporation funded this version produced by Michael Balcon. Screenplay by Michael Hogan. Direction by Robert Stevenson whose later work included the Disney lost race film The Island at the Top of the World. Balcon's film starred [Sir] Cedrick Hardwicke as Allan Quatermain, John Loder as Sir Henry Curtis, Roland Young providing comic relief as Commander Good, Paul Robeson as Umbopa, & Sydney Fairbrother as scary Gagool. Robeson was a great actor who due to racism rarely got to play a great role even after his stunning (though segregated) reprisal of his stage performance for the film Showboat. He makes a lot of the limited opportunity the Umbopa character privided; & though the interuption in the action is a little out of place, it's actually pretty nice that he was even permitted to sing three songs. Anna Lee plays Kathy O'Brien who hired Quatermain to help her find her father (Arthur Sinclair) in darkest Africa. Good special effects for the day & pleasing black & white cinematography, this was the last film ever made at Shepherd's Bush & the first truly significant filming of any work of Haggard's 1885 classic. Not flawless, but definitely worth ferreting out.
KING SOLOMON'S MINES. 1950. Directed by Compton Bennett & Andrew Morton. Stewart Granger played Quatermain; a delightful Deborah Kerr co-starred as Elizabeth O'Brien who hires Allan to help find her missing husband in Africa. Both Granger & Kerr provide performances that make the story credible & captivating. The film had three Oscar nominations & won two, for Best Color Cinematography & for Best Film Editing. Most regard this the best adaptation of King Solomon's Mines although the mine is just a cave with some treasure in it with some lost race's idol covering up the entryway.
KING SOLOMON'S MINES. 1985. Richard Chamberlain plays Allan Quatermain as though he were a cheapjack Indiana Jones. Sharon Stone plays a damsel in distress. Jerry Goldsmith wrote the score so the soundtrack's not as bad as the film (& can be purchased as a CD if you'd like to hear it without suffering the stupendously dumb film). Even a company who hopes you'll buy the video from them could think of nothing better to say of it than "simpleminded." One scene has Chamberlain & Stone plopped in a big cooking pot like in those old racist cartoons of bwanas & missionaries captured by bones-through-their-nose cannibals. Hard to imagine a dumber film, but if Hollywood can come up with one, Chamberlain will doubtless show up to audition. Its immediate sequal was Allan Quatermain & the Lost City of Gold (1987), see above.
KING SOLOMON'S MINES. 1986. Sixty-minute animated cartoon version produced in England. Voices include Tom Burlinson & Arthur Dignam.
KING SOLOMON'S MINES. Date unknown. A 50 minute animated adaptation distributed by Valencia Entertainment.
KING SOLOMON'S TREASURE. 1976, Canadian television production. Directed by Alvin Rakoff. Allan Quatermain (John Colicos) organizes a safari to find King Solomon's treasures, which is guarded by a dinosaur, at the cite of a lost Phoenician city ruled by Queen Nypeptha (Britt Eklund). A lovely supporting cast includes Wilfrid Hyde-White as Allan's fellow Club Member; Patrick Macnee as Captain Good; David McCallum as Sir Henry Curtis, & Ken Gumpu as Umslopogaas. Loosely based on Haggard's novel Allan Quatermain.
LOST ATLANTIS. 1920. See Atlantida.
LOST ATLANTIS. 1939. First USA release title of the 1932 version of Atlantida which see.
LOST KINGDOM. 1961. Alternate title for Journey Beneath the Desert which see.
MACISTE IN KING SOLOMON'S MINES. 1950. Reg Park stars as legendary Italian muscleman Maciste, versus the evil Fazira who has the power of mind control. Fazira intends to plunder the treasures of King Solomon's lost mines. For years available only in its Italian-language version, a dubbed version came onto the video market in the mid-1990s.
MALIKA SALOME. 1953, India's version of She. Directed by Mohammed Hussein. Starring Krishna Rumari as Ustane, Rupa Varman as Ayesha & Karman as Leo. A musical of course.
MIRAKEL DER LIEBE. 1925, German. See the version of She directed by Leander de Cordova.
MISTRESS OF ATLANTIS. 1932, German. See Atlantida.
MOON OF ISRAEL. 1924, Austria/UK. Silent film produced by Sascha Films for Stoll Pictures & released in Austria & Germany as Die Sklavenkoenigin. Also shown as The Slave Queen. Based on the 1918 novel Moon of Israel. Directed by Michael Curtis. Cast includes Maria Corda as Merapi (i.e., Miriam), Adelkqui Miller as Seti, & Henry Mar as Moses. With English dialogue cards it premiered in the London Pavilion then. The original dialogue titles were written by Rider in English but were translated into German then back into English to some ludicrous effect, so that in October 1924, as he wrote in his diary, he was under some time constraints restoring the dialogue. He said "The picture plaky itself is in parts very fine, except wherever it leaves my story, replacing it with introduced incidents or modifications. Then it comes utterly to grief. It must have cost an enomrous sum but whetehr any one makes much out of it depends upon whether or not the Americans will alow it into the States." It was in fact purchased by Paramount for distribution in America specifically as competition against Cecil B. DeMille's original silent film version of The Ten Commandments with similar scenes & locals. Contemporary critics regarded the parting of sea sequence to have been better than DeMille's, & time would certainly prove Michael Curtis's film direction generally to be a lot more intelligent if no more epic than Cecil's. The Censor's Office in England had some objections also noted in Rider's diary: that the soldiers had arrows sticking in them, that too much skin of the heroine's back could be seen, & excessive passion in the final kiss given to her husband the Prince of Egypt. Rider exclaimed, "What Pharisees & humbugs we are in England!"
MR. MEESON'S WILL. 1915 three-reel silent film directed by Frederick R. Sullivan. Starring Florence LaBadie (Augusta Smithers), Justus D. Barnes (Mr. Meeson), & Bert Delany (Eustace Meeson). Criminous drama based on the 1888 novel of the same title. See also Joseph De Grasse's version, The Grasp of Greed.
QUEEN OF ATLANTIS. 1961. Alternate title for Journey Beneath the Desert which see.
RAIDERS OF THE LOST ARK. 1981. This film started a veritable craze & revival of Haggardesque adventures; director Stephen Spielberg placed the story in 1935 specifically to get it closer to the era when Haggard's fiction was known to all. The entire Indiana Jones franchise -- films, television's Young Indiana Jones, books, games, comics, merchandise, Disneyland adventure-ride, & Indy imitations such as Romancing the Stone -- owes everything to H. Rider Haggard as filtered through lowbudget film serials (themselves frequently inspired by Haggard). Harrison Ford plays Indiana Jones as a hyperactive American version of Allan Quatermain. The only failing these films have vis-a-vis Haggard is that neither scriptwriter George Lucas nor director Spielberg have ever been worth a poop in creating powerful women characters for actresses to play, whereas if Rider had gone over the scripts that would've changed. In the first Indiana Jones film, rather than King Solomon's Mines Indy is in search of the Ark of the Covenant, which the nazis also seek.
SHE. 1899. See under Calonne de Feu.
SHE. 1908. Directed by Edwin S. Porter. The second-earliest of the many films inspired by Rider's 1886 classic adventure novel was a one-reel silent film made by the pioneering Edison Studio. Florence Auer played the Immortal She; William V. Ranous was Leo Vincey. This version evidently does not survive.
SHE. 1911 two-reel silent directed by T. Marston & George O. Nicholls. This twenty-minute silent film produced by Thanhouser starred James Cruze as Leo Vincey, Marguerite Snow as the immortal She. The film has survived & is in the video market.
SHE. 1915. Released as His Egyptian Affinity which see.
SHE. 1916. UK silent film directed by William G. Barker & H. Lisle Locoque, with production design by none other than Lancelot Speed, one of Haggard's illustrators! Starring J. Hastings Batson as Billali, Jack Denton as Job, Blanche Forsythe as Ustane, & Henry Victor as Leo Vincey, with Parisian Moulin Roge actress Alice Delysia as She. One source gave 1914 for this film but if there was a 1914 version I can find no other evidence. A short story based on the 1916 photoplay of She was written by James Black & published in Pictures & the Picturegoer May 13, 1916, with illustrations from the film elsewhere unreported. Between its release in February & June of the same year, two-million viewers paid to see this film. Rider went to see it early in October, & noted in his diary entry, "It is fair, considering all things, though somewhat distressing to an author."
SHE. 1916, US silent. Released as Hidden Valley which see.
SHE. 1917. Five-reel silent film produced by Fox, directed by Kenean Buel, & starring vamp Valeska Suratt as the titular character while Ben Taggart plays Leo Vincey. Purportedly, in this version, Ayesha re-enters the immortalizing flame to be returned to her mortal state, & is turned into an ape. Sadly this version does not seem to survive.
SHE. 1925. Silent. J. E. Scott's Haggard bibliography, drawing on contemporary advertisments, notes a silent film released in this year starring Betty Balfour in the title role. Balfour did make several films in the 20s & 30s, but I have not been able to independently corroborate a version of She with her in it. One old filmography lists a 1925 version of She as 64 minutes, whereas the 1926 film is 77 minutes, suggesting they evidently are not the same (though different source prints of the same films are rarely the same length). For the time being I am going with the assumption that Scott meant Betty Blythe in the 1926 silent film & this one's a phantom film, but this could be wrong.
SHE. 1925/6, UK/German silent film also called Mirakel der Liebe. Directed by Leander de Cordova & G. B. Samuelson. Title-cards according to Scott were written by Rider himself! Betty Blythe is She-Who-Must-Be-Obeyed & Carlyle Blackwell is Leo Vincey. Mary Odette (nee Odette Goimbault of Dieppe, France) is Ustane, Henry George is Horace Holly, Jerrold Robertshaw is Billali & Alexander Butler is Mahomet. She-Who-Must-Be-Obeyed & Carlyle Blackwell, Sr., is Leo Vincey. I have seen cited a 1921 version of She that supposedly also stars the statuesque American beauty Betty Blythe in the titular role, but I believe this must be a confusion for her Fox hit of that year, The Queen of Sheba.
SHE. 1935, 95-minute RKO feature produced by Ernest B. Schoensack; directed by Irving Pichel & Lansing C. Holden; screenplay by Ruth Rose; music by Max Steiner. Starring the great stage actress Helen Gahahan as She-Who-Who-Must-Be-Obeyed, this was her only film role, as she afterward became a congresswoman! Randolph Scott is Leo Vincey. Also starring Helen Mack as Tanya Dugmore, Nigel Bruce as Archibald Holly, & Noble Johnson as the Amahagger chieftain. The producer, Merian C. Cooper, also produced Willis's King Kong. For some reason the action is not in Africa, as She is encountered on an Arctic expedition from the upper Asian peninsula. Her film-set world constitutes an art deco masterpiece. The film received an Academy Award nomination for choreography. The film's design is extraordinary, as even the small illustration from it (used above to decorate the title of this page) readily conveys. It required thousands of stunt extras & enormous sets with the special effects by Vernon Walker state of the art for the day. The volcanic snakepit scene was swiped by Stephen Spielberg for Indiana Jones & the Temple of Doom.
SHE. 1935. Scott's Haggard bibliography cites a Hollywood production starring Marie Ney as She-Who-Who-Must-Be-Obeyed. I have not found other references to such a film with this actress & it's hard to imagine two versions were released in the same year. Since Scott failed to note the famous RKO version I am for the time being assuming he meant the version starring Helen Gahahan as She, hence I have left this entry unnumbered pending further information about the purported Marie Ney film.
SHE. 1953. See Malika Salomi.
SHE. 1964. Hammer Films, directed by Robert Day. Ursula Andress played the title role. Also starring are Peter Cushing (Holly), John Richardson (Leo Vincey), Bernard Cribbens (Job) & Christophere Lee (Billali) -- the Hammer bigshots. The film's score was by James Bernard who did many horror films. A classic of tackiness, Ursula as the tyranical Ayesha, queen of the lost city of Kura, was sexy enough to make it all seem less than comical & many a fantasy film fan who was young in the 1960s still gets excited thinking about her.
SHE. 1980. Directed by Peter Thornton. South African television production, eight episodes adding up to 240 minutes. Starring Australian journalist & architect Wendy Gilmore as an eggheadier Ayesha than before seen in film versions & Giles Ridley as Leo Vincey.
SHE. 2001. Directed by Timothy Bond. International production, chiefly Canada & Italy. Starring blond bombshell Ophilie Winer as Ayesha, & Christoph Waltz as Vincey.
SHE. 1985. This low budge Italian fiasco written & directed by Avi Nesher is an irrational mishmash of fantasy set in a post-holocaust world that if synopsized would make no sense at all & barely has distant parallels to Haggard's novel. Supplanting the lost city of Kor there is an evil race of nazi look-alikes called the Norks who live in Norkville which is in Nork Valley. And Nork does seem to be "Dork" misprounounced judging by the performances. The story includes characters named Tom, Dick & a girl, Hari, I kid you not. Sandahl Bergman in a wooden performance as the Immortal She was obviously chosen because she was so fine at conveying swordfighting prowess in the first Conan movie. Alas, Sandahl is looking a bit haggard as immortals go, though with none of the authority of Haggard's She-Who-Who-Must-Be-Obeyed. In one scene Sandahl does battle in a cave with some guys who jumped out of refrigerator cartons, & Frankenstein was there too. Obviously intended to be a film so bad & so foolish that it might become a cult classic, but it seems unlikely to score even on the lowest Golden Turkey Awards level of so bad you gotta see it.
An differing opinion of the 1985 version of She is sent along by Jim Rockhill: "It is so unbelievably terrible, so incoherent, so unpredictably awful that I find it horribly fun to watch. Few films make me chuckle & giggle as uncontrollably as this movie does. I find something new & awful in it every time I see it; then the tears of mirth rain down & I miss something else."
SIREN OF ATLANTIS. 1949. Directed by Gregg G. Tallas. Based on Pierre Benoit's novel L'Atlantida. Maria Montez plays the femme fatale Queen Antinea, & her real-life husband Jean Pierre Aumont plays the legionaire who with Dennis O'Keefe discover the sub-Saharan Atlantis. See also Atlantida for other adaptations of Benoit's 1919 seeming plagiarism of Haggard's The Yellow God.
DIE SKLAVENKOENIGIN. 1924. See under Moon of Israel.
THE SLAVE QUEEN. 1924. Variant title for Moon of Israel which see.
STELLA. 1921. Silent film based on Rider's 1903 supernatural love story Stella Fregelius. Directed by Edwin J. Collins. It was shown privately in April 1921 but apparently never released. Rider in his diary notes that it received one review off this preview, which faulted it for the anti-climax, which, Rider noted, was not his own ending but quite altered because because picture-plays were supposed to end happily. It starred Molly Adair as Stella.
THE STRONGER PASSION. 1921. Same as Beatrice which see.
SWALLOW. 1922. A scenario for a film version of this 1899 adventure fantasy was written in 1920. It was read & approved by Rider. It is not known whether that script was produced but if so, then it would be the 1922 silent film produced by South African Films, evidently never distributed outside South Africa & subsequently lost, though stills are preserved in a South African film archive. The director was H. Lisle Locoque. Enna Soutar played Wilhemina Botmar; Dick Cruickshanks was Jan Botmar.
TARZAN & KING SOLOMON'S MINE. See Tarzan en las minas del ray Salomon in "Part II: ERB Lost Race Filmography."
THE VENGEANCE OF SHE. 1968. Directed by Cliff Owen, this is Hammer Films sequel to their 1964 hit She. Czechoslovakian beauty Olinka Berova plays Carol, the reincarnated Ayesha, more or less based on Rider's own sequel Ayesha, the Return of She (1905), though similarities are pretty far removed. John Richardson plays King Killikrates of the lost city of Kuma who telepathically compels Carol into the depths of Africa. Edward Judd plays Doctor Smith who accompanies Carol toward her destiny. Without the Hammer bigshots of the 1964 version, there's not much screen appeal going on; it's a dumb story with less jiggly boob appeal than Ursula Andress so ably conveyed. Nevertheless it should prove mildly entertaining for a slow-brain night. Variant titles are Ayesha, the Return of She and Ayesha, Daughter of She.
WATUSI. 1959. Directed by Kurt Neumann, based on Rider's novel Allan Quatermain (1887). Starring David Farrar (Rick Cobb), Rex Ingram (Umbopa), George Montgomery (Harry Quatermain), Dan Seymour (Mohamet), Taina Elg (Erica Neuler) & Paul Thompson (Gagool). This film was marketed as a sequel to the Stewart Granger vehicle, King Solomon's Mines. Allan Quatermain's son comes to Africa to resume his father's quest for the legendary mines. So much film is recycled from the earlier film that the previous actors are occasionally seen in long shots.
HER. 1952, thirty minutes. This of course is She adapted as a comedy on the British series The Goon Show, & first airing on March 18. The script was by Spike Milligan & Larry Stephens.
KING SOLOMON'S MINES. 1946 radio serial. Eight-episode adaptation produced in England & airing in weekly installments beginning September 16.
KING SOLOMON'S MINES. 1952, one hour. Produced for The Lux Radio Theatre, first aired on December 1. Starring Stewart Granger, Deborah Kerr, Michael Pate, & William Conrad.
KING SOLOMON'S MINES. 1957, thirty minutes. Adapted as comedy on the British series The Goon Show, first airing December 2nd. Starring Peter Sellers, Spike Milligan & Harry Secombe.
KING SOLOMON'S MINES. 1977. Adapted by Paul Tripp for General Mills Radio Adventure, later called CBS Radio Theater. Starring Ralph Bell & Court Benson. First aired February 20 & rerun under the series CBS title on August 20.
KING SOLOMON'S MINES. 1996, BBC Radio. First aired October 4. Starring Walter Covell.
SHE. 30-minute episode of Escape first airing July 11, 1948, produced & directed by Norm MacDonald. Kay Brinker played Ayesha.
SHE. Produced for the BBC 6 April 1979. Dramatized by Victor Pemberton & directed by David Spenser.
SHE. 1996. BBC? Kathleen Turner as She, first aired December 9.
TOTO SCEICCO. 1950. Italy. Directed by Mario Mattoli. A spoof of French Foreign Legion adventures, starring comedian Antonio Sapore as a Legionaire who meets the sub-Saharan Queen Antinea of Pierre Benoit's L'Atlantida. Antinea is played by Tamara Lees.
See also the companion annotated filmographies
Cinematic Lost Races Part II: Edgar Rice Burroughs
Cinematic Lost Races Part III: Miscellaneous
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