TCM presented a beautiful print of Ernst Lubitsch's Egyptian epic THE LOVES OF PHAROAH (1922). Released by Paramount in the US, the film was Lubitsch's last feature in his home country of Germany before setting up camp in Hollywood. (That's another story all together.) The "Lubitsch Touch" in his historically-based epics, such as CARMEN, MADAME DUBARRY, SUMURUN, or ANNA BOLEYN, is the director's ability to present us with the overwhelming sight of the plight of the crowd and then gradually direct our attention to a personal drama taking place within the epic sweep of time and destiny. (He does so more genuinely than DeMille, who seemed to have imitated this approach.) Then, of course,there are the sexual situations, the uncontrollable attractions, and the inevitable rejections that determine the fates of the characters, a theme continued into the director's sophisticated comedies and, later, witty musicals that followed this film. LOVES OF PHAROAH has stunning visual moments both large and small: the crowds working, revolting, being manipulated by rulers to the turning of Emil Jannings to a wall and dropping an outstretched hand, showing his reluctant realization of the futility of his affections. The film is deliberately paced but never draggy. Though there are moments of regret (the depiction of the Ethiopians is particularly stereotyped and inconsistent), this foray into Arabian exotica is a dramatic improvement over the stilted presentations seen in SUMURUN from a couple of years before. With THE LOVES OF PHAROAH, Lubitsch reaches the apex of his epic years (though THE PATRIOT may have reached greater heights, though we'll never know until a print is found).