
Professor Lampton's work of excavating the tomb of Akhnaton (Ikhnaton) is held up by lack of funds, and Prince Dagmar, scion of a Balkan royal family, finances him with the ulterior motive of robbing the tomb of its treasures. Michael Amory, an artist assisting Lampton, loves Margaret, but believing her to be in love with the prince he departs with Gondo Koro, a Bedouin prophet who knows the location of the tomb.


Imagine a film that arrives in tatters—nitrate curls warped by Nile humidity, intertitles chewed by projector gears—yet still exhales an opium perfume potent enough to intoxicate any cineaste lucky enough to exhume it. The Lure of Egypt is that relic: a 1921 Paramount release once dismissed as a mere potboiler, now r...


Comparing the cinematic DNA and archive impact of two defining moments in cult history.

Howard Hickman

Howard Hickman
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" Imagine a film that arrives in tatters—nitrate curls warped by Nile humidity, intertitles chewed by projector gears—yet still exhales an opium perfume potent enough to intoxicate any cineaste lucky enough to exhume it. The Lure of Egypt is that relic: a 1921 Paramount release once dismissed as a mere potboiler, now revealing itself as a hallucinatory palimpsest where Victorian Egyptology collides with Jazz-Age cynicism. A Canvas of Sand and Desire Director Howard M. Mitchell stages the openi..."
William Lion West
Richard Schayer, Elliott J. Clawson, Norma Lorimer
United States


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