"She" is an adventure film, but in fact is much more than that appellation might imply. The script deals with the nature of love and the lengths to which that powerful emotion might drive us, and it also explores the way in which ultimate power unfailingly corrupts. Production values are simply exquisite for 1935, and the film still looks better than most similarly-scaled movies of today. Helen Gahagan is very effective as the title character--Ayesha, or She Who Must Be Obeyed--while Randolph Scott is convincing as the movie's protagonist and the object of Ayesha's dubious affections. The gorgeous Helen Mack is Ayesha's rival for Scott's heart, and if her mortal's love lacks the awesome power offered by Ayesha's it is also truer and frankly more human. The climax is tragic but just, and the whole story echoes with the resonance of legend.

From the creator of King Kong comes another balls-to-the-wall fantasy adventure full of spectacle, set-pieces, and technical bravado in special effects that never really age but become all the more impressive in the detail and skill put into it. The story is recognizable: the Fountain of Youth is out there, and we must find it! However, once the adventurers have arrived, what is there to see but crazed natives, magical empresses, and frozen saber toothed tigers tucked away in the corner of an unforgiving arctic landscape? Everything for this movie was prepared on a large budget before actual filming began, at which point the budget was pulled and it was forced to be shot in black and white. Nevertheless, the money still survives in the set-pieces and special effects. And these aren't your average corner of the studio setpieces, this is grandiose, extras-filled spectacles with stairs stretching for forever and perfectly composed backdrops for cliffs falling off to infinity. The movie absolutely delights in motion, light, and magic, as She is introduced behind a veil of smoke, natives fall from a cliff in long shot, a corpse is disintegrated on-screen in a prolonged combustion matching live action sweep of She's arm, and aging occurs between bursts of vibrant white light.Yes, there are still ways that the film is painfully dated. The acting style is the stagy and overbearing declarative statement style of early sound era in order to appropriately capture the dialog with limited camera movements within the sets, the representation of natives will illicit giggles from those who aren't outright offended, and if you're the type of person who HAS to be a killjoy and think King Kong is all racist and stuff, She will probably feel a bit misogynistic (it's pretty much about a woman trying to hold on to a man who doesn't want her, preferring a new younger woman instead). However, there's some stuff that is still just downright delightful, including a prolonged Busby Berkeley-like dance interlude, a large avalanche, and the tongue-in-cheek sendup of characters like Holly, supposed anthropologist sitting back with a bemused expression and a pipe watching in fascination as cannibals get ready to eat him.It may not have created as iconic a character as King Kong, or made dinosaurs come to life sixty years before Jurassic Park, but She is still a wonderful movie.--PolarisDiB

You might want to watch this more than once ! The story is really great – real stirring adventure material that people used to read before the advent of TV. Then there are the sets, as some body else said if only Ming the merciless had sets like these – they are truly breathtaking. Let us not forget the magnificent musical score and the choreography – there is a foreboding menace within the ceremonies which soon becomes self-evident.The sets are fantastic as are the choreographed execution dances and rites, I wonder if the ideas for some of the horror has come from real life journeys into primitive tribes.There are two disappointments in the film, firstly Nigel Bruce who sounded and looked exactly the same as he did as Dr Watson, whoever told this person that he could act? Then there is the fireside epilogue - it was as though Hollywood insisted on an upbeat ending. If you can put up with these distractions this film is an absolute classic.The Hammer remakes are good but this is the definitive film – watch and enjoy.

This once seemingly lost, or at least taken out of circulation, film is now back in a magnificent Kino colorized version with restored footage and sound, all of which will surely bring new fans to this unusual film.The story has been filmed at least six times, with the Kino DVD showing excepts from the (poor) 1911 and (better) 1925 silent versions. The 1966 version may have had the best looking 'She', a regal Ursula Andress, but this one has great art deco sets (now even more amazing in color); bizarre Busby Berkeley like dance sequences (nominated for a 1935 Oscar, no less!); a stirring Max Steiner score; the cute as a button Helen Mack--also seen in the weak 'Son of Kong' (1933); and Nigel Bruce in a major role playing it straight. Helen Gahagan plays 'She' in a passionate, mannered way with almost Shakespearian dialogue. Unfortunately she is poorly off set by a dull Randolph Scott as Leo, making her 500 year old love for him seem a little unconvincing. Much better would have been RKO star Joel McCrea who had a more handsome profile, physique, energy and acting skill. McCrea does an outstanding job in 'The Silver Horde' (1930), 'Bird of Paradise' (1932), and 'The Most Dangerous Game' (1932). Why he wasn't in this one is a mystery, and a detriment to the film.The only other really weak spot is that though they were in the Frozen North, you never see cold breath coming from the characters' mouths. Contrast this with the impressive 'Lost Horizon' (1937) or 'The Thing' (1982), where when it's cold, you can see their breath!Other notes: The evil queen's purple costume in 'Snow White' (1938) is an exact copy of one of She's royal 'gowns' complete with spiked tiara! We also see the the Skull Island Kong Gate from 'King Kong' (1933).High points: The final sequences beginning with 'The Hall of The Kings' elevate the quality of the film tremendously. The colorization really is the best here. Helen Gahagan gets several strong scenes about the burden of immortality. The love triangle focus of the film actually works because of Ruth Rose's dialog and the acting skills of both Helens.Watching it in black and white (also included on the Kino DVD) gives the story a more nightmarish quality and is also recommended. For both, I give them a 7.