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National Geographic Mysteries of Egypt
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No land on Earth possess |
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wonders long hidden |
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but revealed occasionally |
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or a curious tale. |
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Our story begins with a death |
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the death of an unusual boy. |
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Worshipped as the son of Re, |
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he was a pharaoh of Egypt |
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We don't know how he died, |
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only that his death was |
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His body was preserved |
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in the manner of other pharaohs |
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and priests anointed his |
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for his final journey |
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The rituals had to be finished |
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the Sun, |
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So this young pharaoh |
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surrounded by kingly treasures |
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and his seal was pressed |
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From that time on |
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hidden and undisturbed |
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This young King's name |
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For 3,000 years, |
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King Tut and his tomb |
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remained concealed |
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Other tombs were discovered |
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but not his. |
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Believing he could find it, |
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an Englishman named |
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five arduous expeditions |
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but they yielded nothing. |
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In 1922, he returned to |
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That year he brought a |
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to brighten his spirits. |
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The workmen called it |
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the Golden Bird and told Carter |
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it would bring them good luck. |
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But as work began success seemed |
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And time was running out. |
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Carter's benefactor, |
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Lord Canarvon |
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fascinated by Egypt |
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but even he was losing faith... |
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and had threatened |
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Yet Carter persisted |
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if found intact |
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the tomb would be filled |
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that would help us peer |
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to glimpse a world of human |
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to glimpse our very beginnings. |
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That's a great story Grandpa |
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but I want to know more. |
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You live here and |
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I know you can tell me |
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About? |
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Well, my friends want me |
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how anyone who entered |
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...will have some terrible |
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Yes, yes, I know. |
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I don't know if I believe it. |
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But will you tell me about it? |
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So the pharaohs, the tombs |
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the great civilization |
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you are not interested in? |
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But the Mummy's curse you find... |
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Exciting! |
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Yes, I can see that. |
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All right then. |
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you shall hear all about it. |
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But first we must |
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Where will we start then? |
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At the source, of course. |
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The source of the Nile. |
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It is the longest river on Earth, |
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the greatest river in Africa |
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crossing nearly half |
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It is born of two rivers |
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which rises near Lake Victoria |
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and heads north |
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through Uganda-and |
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which descends from the |
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They meet in the |
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forming the main trunk |
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By the time it drains |
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its waters have journeyed |
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To the outside world |
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the source of the great river |
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was an enduring mystery. |
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But to the ancient Egyptians, |
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the source was clear: |
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the Nile flowed |
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But what has the Nile |
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to do with mummies and curses? |
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Everything. |
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There would be no mummies, |
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no ancient Egypt-in fact, |
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no Egypt at all without her. |
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You see, |
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Egypt without the Nile |
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suitable for |
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but not great civilizations. |
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It's only here along the |
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that the desert's heat |
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and arid sand is turned |
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Nourished and irrigated |
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Egypt became the longest |
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lived of all the |
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In ancient times, |
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so much water raced down |
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from the lush valleys |
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that the Nile overflowed |
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Mineral-rich silt was carried |
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toward the desert of Egypt |
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where wildlife flourished. |
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Rich land made possible |
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and a stable civilization able to |
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turn from daily survival |
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science, mathematics, |
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They studied the heavens |
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gave us the 24-hour day |
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Egypt, an old saying goes, |
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But the Egyptians believed |
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even mightier than the Nile: |
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the sun-the God they called Re, |
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the God who created everything. |
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Each morning with its rising |
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the Sun God would be born. |
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Each night in setting |
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But the next morning |
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he would rise again |
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He was eternal. |
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When a king died, |
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it was believed that |
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His son |
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the falcon, |
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And so the Egyptians accorded |
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their rulers absolute power |
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which they used to build |
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an empire of buildings |
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and art so exquisite |
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how such wonders were created |
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how stones from the |
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into timeless monuments. |
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Some of the oldest buildings |
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preserved by the desert air |
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and the skill of their creators. |
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Some are so old that |
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a thousand years |
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The enormous obelisks of Karnak |
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were carved from single blocks |
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moved hundreds of miles by boat |
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and perhaps levered up |
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Giant statues of Ramses the Great |
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are still some of the largest figures |
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ever sculpted from solid stone. |
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We don't know how they did it, |
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but we do know why |
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both in life and after death. |
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Honor the pharaohs after death? |
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Does that have anything |
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Yes. |
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When the young kind died, |
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the priests sought |
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a magical new body for him. |
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For 70 days they labored, |
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drying and preserving the |
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and ointments, |
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then wrapping it in hundreds |
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with protective jewels, |
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And finally, |
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crowning the mummy with |
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an exquisite golden death mask. |
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Tutankhamen was ready |
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Had the boy king lived |
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and died a thousand years earlier, |
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he would have been buried |
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like pharaohs long |
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before him in a monument |
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of colossal proportions |
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the man-made mountain |
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They probably saw the |
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as a mystical link |
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providing the pharaoh's soul |
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with a stairway to the heavens. |
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Of the fabled Seven Wonders |
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only the pyramids of |
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more than 4,000 years ago. |
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Nearly 500 feet tall |
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they contain some |
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of stone ever moved by |
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humans-as much as 50 tons or more. |
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Yet this was accomplished |
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or even iron tools. |
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How in the world did they do it |
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without modern machinery? |
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The gods certainly didn't do it. |
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They used their minds. |
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Knowledge built these great |
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Highly sophisticated knowledge. |
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Look. |
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All of the Giza pyramids are built |
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in perfect alignment |
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That takes a knowledge |
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The pyramids' foundations are laid out |
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in perfect angles |
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precisely correct for the height |
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they wanted to reach. |
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Now that takes |
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and mathematics. |
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And finally, |
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you must get these big stones |
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from down here to up there |
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and you must make them |
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Now that takes knowledge |
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an incredible knowledge of |
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engineering and organization. |
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Organization? |
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Absolutely. |
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You just said so yourself. |
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It wasn't the gods who built |
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these great monuments. |
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It was people. |
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Thousands and thousands of people. |
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Imagine being one of |
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living in a tiny village |
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more than 4,000 years ago. |
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Life would be pretty much |
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the same day in |
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herding cattle |
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Then one day, |
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you're selected to journey |
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by boat down the Nile. |
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You're now part of |
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the great national project |
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to build the pharaoh's tomb. |
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But you have no idea |
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And then you see a monument |
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to the sun to life eternal. |
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How did they move such heavy |
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stones to such great heights? |
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There are many theories, |
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but they probably pulled |
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the blocks up mud-slickened ramps |
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raising the ramps |
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Masons then set the stones |
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with such precision a postcard |
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couldn't fit between them. |
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To create the |
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it took over 20 years... |
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more than two million |
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and some 20,000 people. |
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And they might have been slaves, |
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but now we think |
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they were mostly peasant farmers |
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recruited to work here |
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With their help, |
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the early pharaohs built |
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pyramids-80 of which survive today. |
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But what about the kings |
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You told me King Tutankhamen |
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wasn't buried in a pyramid? |
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No, he wasn't. |
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They stopped building them. |
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And for good reason. |
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There were robbers who cared far |
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more about heaps of gold |
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than an eternal journey. |
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The pyramids, |
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were like enormous |
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"We've buried the king in here |
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and all his treasure with him." |
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At any rate, |
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That's why 500 years after |
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the last pyramids were built |
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a new era of kings decided |
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that instead of building tombs |
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which everyone could see |
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why not build tombs |
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Three hundred miles |
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across the Nile |
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is this barren maze of |
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of a natural pyramid. |
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Here no thief could |
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Here the kings and queens of Egypt |
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would remain immortal |
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or so they thought. |
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But greed breeds ingenuity. |
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Cleverly hiding their |
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robbers scoured |
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Over time, |
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each of the valley tombs |
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broken into and completely |
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plundered-except for one |
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Except for the tomb |
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That |
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is what Howard Carter believed. |
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And, if he was right |
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it would be the |
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discovery of modern times |
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But after five years |
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and the situation |
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Then, on the morning of |
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November the 4th, 1922, |
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a waterboy trying to |
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secure his jug hit |
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Carter sent a telegram |
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to Lord Canarvon in England |
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to come quickly and went to |
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Cairo to meet his benefactor. |
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But while he was away something |
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very strange happened. |
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The golden bird that had |
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brought them luck |
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Well, now the cobra was |
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the protector of the pharaoh. |
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And the canary represents those |
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who had entered the tomb. |
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So the cobra ate the canary |
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because of the mummy's curse. |
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More likely he ate it |
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because he was hungry. |
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I like the curse idea better! |
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Well, certainly the workmen |
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believed it was the curse. |
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The death of the golden bird |
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was a bad omen to them. |
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It meant that someone close to |
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the project would die within the year. |
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Rumors of a curse mattered |
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He hoped his dig would uncover |
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the tomb of a pharaoh |
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who ruled long after King Tut. |
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Carter wanted to find treasure. |
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But if not, something |
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Pictures... |
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hieroglyphs that would |
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of how the ancients lived |
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These images are from the |
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passports to eternity which |
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To help a dead king reach |
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they supplied answers to |
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spells to deflect dangers |
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But preparation for the afterlife |
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began long before death. |
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In grand temples once supported |
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by these pillars-among |
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the largest places |
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the living pharaohs gave offerings |
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as a way of communicating |
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with the gods in the world beyond |
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and courting their favor. |
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Both immense and colorful, |
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temples like the great structure |
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were the settings for |
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that proclaimed to all |
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not only the pharaoh's power and wealth |
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but his devotion to the gods |
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he would one day join |
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They sure seemed preoccupied |
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Yes, |
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and probably because |
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as much as they did. |
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There are picture stories |
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of board games and ball games, |
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of acrobats and mechanical toys... |
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of the affection between |
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and of family unity and love. |
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It was the most advanced |
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and it went on for 3,000 years. |
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But the empire they |
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Among the stories on |
| 00:27:29 |
are accounts of |
| 00:27:31 |
who tried to conquer the |
| 00:28:01 |
But, the invading empires |
| 00:28:03 |
became more powerful |
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and so gradually, inevitably, |
| 00:28:14 |
the kingdom of Egypt began to crumble. |
| 00:28:19 |
Well, how could a place |
| 00:28:20 |
as powerful as Egypt just collapse? |
| 00:28:24 |
Actually, many things happened, |
| 00:28:27 |
but mostly it was the weakening |
| 00:28:30 |
through civil turmoil, |
| 00:28:32 |
making Egypt vulnerable to invaders. |
| 00:28:37 |
Little by little |
| 00:28:39 |
much of the pharaohs' great |
| 00:28:41 |
with its secrets |
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But even as the monuments |
| 00:29:20 |
the stories are rediscovered |
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deciphering the distant past. |
| 00:29:39 |
Scholars and artists are |
| 00:29:40 |
preserving the Great Sphinx for all humanity. |
| 00:29:51 |
Research within the |
| 00:29:53 |
the brilliance of |
| 00:29:56 |
whose sophisticated |
| 00:29:58 |
the collapse of these |
| 00:30:04 |
DNA analysis is helping to |
| 00:30:06 |
identify family ties of the royal |
| 00:30:09 |
and to give us clues about |
| 00:30:18 |
New excavations are uncovering |
| 00:30:20 |
the support system of settlements |
| 00:30:22 |
and facilities for the workers |
| 00:30:23 |
who built the Giza pyramids. |
| 00:30:33 |
These new discoveries |
| 00:30:37 |
at least in part, |
| 00:30:38 |
to one discovery |
| 00:30:42 |
of the tomb of a |
| 00:30:50 |
On November 26, 1922, |
| 00:30:54 |
Howard Carter reached the wall |
| 00:30:55 |
outside the first chamber |
| 00:30:59 |
What can you see? |
| 00:31:13 |
Carter, please, |
| 00:31:17 |
Yes. |
| 00:31:21 |
Yes. |
| 00:31:26 |
Wonderful things |
| 00:31:51 |
And they were wonderful things... |
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kept hidden for over |
| 00:31:56 |
in four chambers carved |
| 00:32:00 |
They entered to find the only |
| 00:32:03 |
ever discovered in modern times. |
| 00:32:14 |
And in the burial chamber, |
| 00:32:20 |
Inside the fourth shrine, |
| 00:32:23 |
one inside the other, |
| 00:32:27 |
the mummy of the boy |
| 00:32:38 |
This was the greatest treasure |
| 00:32:43 |
well over 2,000 objects of gold |
| 00:32:47 |
lapis and precious jewels |
| 00:32:52 |
by master craftsmen. |
| 00:33:16 |
They gave us a personal |
| 00:33:19 |
in ancient Egypt-and fueled |
| 00:33:23 |
our drive to continue searching |
| 00:33:26 |
to continue learning. |
| 00:33:35 |
So through discoveries |
| 00:33:37 |
and those of modern archeologists, |
| 00:33:41 |
the ruins of ancient Egypt |
| 00:34:26 |
The stone creations |
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from the desert are |
| 00:34:32 |
great stride forward |
| 00:34:36 |
to builders of |
| 00:34:38 |
to dreamers of grand dreams. |
| 00:34:42 |
These stone wonders are |
| 00:34:46 |
towering symbols of our |
| 00:34:49 |
artists, |
| 00:35:53 |
These great monuments |
| 00:35:57 |
After all, they managed to survive |
| 00:35:59 |
for nearly 5,000 years. |
| 00:36:02 |
How long has our modern |
| 00:36:03 |
civilization been around in comparison? |
| 00:36:06 |
Not very long. |
| 00:36:10 |
Not very long. |
| 00:36:12 |
Now as to the matter |
| 00:36:17 |
Lord Canarvon died from |
| 00:36:20 |
five months after King |
| 00:36:24 |
So it is true, after all. |
| 00:36:27 |
Well, Lord Canarvon did |
| 00:36:31 |
but Howard Carter lived to be 65 |
| 00:36:34 |
and the little waterboy |
| 00:36:36 |
who was one of the first into |
| 00:36:37 |
the tomb because of his size |
| 00:36:41 |
lived to a ripe old age, |
| 00:36:43 |
as did most of the workers. |
| 00:36:46 |
Clearly, |
| 00:36:51 |
But beyond all of that, |
| 00:36:55 |
flies in the face of |
| 00:36:59 |
You mean life. |
| 00:37:02 |
Yes, life. |
| 00:37:30 |
Death, for them, |
| 00:37:31 |
wasn't an end, it was the |
| 00:37:35 |
journey through eternity, |
| 00:37:36 |
where their gods and |
| 00:37:39 |
across a lake of flames |
| 00:37:42 |
rising in new life |
| 00:39:42 |
Two thousand years after |
| 00:39:46 |
a modern film crew |
| 00:39:49 |
to bring their |
| 00:40:00 |
But putting history on film |
| 00:40:01 |
is always a delicate business |
| 00:40:05 |
and tackling ancient Egypt |
| 00:40:07 |
may be the toughest |
| 00:40:36 |
Ancient Egypt began |
| 00:40:39 |
and its remarkable |
| 00:40:49 |
The magnificent remains of |
| 00:40:52 |
include the pyramids... temples |
| 00:40:56 |
Tut's tomb and its treasures |
| 00:40:59 |
yet the people that created |
| 00:41:01 |
them were a mystery to us. |
| 00:41:09 |
But today we know more than |
| 00:41:10 |
ever about life in ancient Egypt |
| 00:41:13 |
and director Bruce Neibaur is |
| 00:41:14 |
celebrating our knowledge |
| 00:41:15 |
in a larger-than-life film. |
| 00:41:19 |
The thing that draws me |
| 00:41:21 |
that we are all part of the |
| 00:41:23 |
we're all linked together |
| 00:41:26 |
What's happened in the past |
| 00:41:29 |
to bear on what's happening |
| 00:41:33 |
Bruce is filming the |
| 00:41:36 |
a giant-screen |
| 00:41:37 |
Imax feature for National Geographic |
| 00:41:39 |
and destination cinema. |
| 00:41:41 |
It's a monumental undertaking |
| 00:41:43 |
there are hundreds of extras |
| 00:41:44 |
thousands of costumes and props |
| 00:41:47 |
and over eight tons of |
| 00:41:49 |
specialized equipment designed |
| 00:41:50 |
to shoot the biggest film |
| 00:41:52 |
stock in the world. |
| 00:41:57 |
A standard 35mm frame |
| 00:42:00 |
70mm is about this big, |
| 00:42:02 |
Imax is about this big and |
| 00:42:04 |
it's thrown up on a screen |
| 00:42:07 |
every detail shows up. |
| 00:42:09 |
Authenticity is everything. |
| 00:42:11 |
And the crew is under constant |
| 00:42:13 |
pressure to achieve perfection. |
| 00:42:18 |
Costume designer Jackie Crier |
| 00:42:20 |
has been working since dawn. |
| 00:42:22 |
Today, she must transform hundreds |
| 00:42:24 |
of extras into pyramid |
| 00:42:26 |
builders for a crucial scene. |
| 00:42:34 |
Down river |
| 00:42:35 |
archeological advisor Zahi Hawass |
| 00:42:37 |
waits for shooting to start |
| 00:42:38 |
with producers Scott Swofford |
| 00:42:44 |
I take full responsibility |
| 00:42:44 |
for everything bad in the film. |
| 00:42:49 |
If anything goes wrong |
| 00:42:52 |
Scott and Bruce in the Nile. |
| 00:42:56 |
Getting it right can be difficult, |
| 00:42:59 |
because just how the Egyptians |
| 00:43:01 |
did build the pyramids is still a mystery. |
| 00:43:08 |
We know they devised a system |
| 00:43:09 |
for moving mammoth |
| 00:43:12 |
We know the system was efficient |
| 00:43:14 |
one 5,000-pound stone could be |
| 00:43:16 |
added to a rising mound |
| 00:43:22 |
But what we don't know is how |
| 00:43:23 |
they did it without wheels or cranes. |
| 00:43:39 |
They simply do not show |
| 00:43:42 |
and so what we |
| 00:43:45 |
are surmises or inferences |
| 00:43:47 |
that we make from the stones |
| 00:43:50 |
But you know the rules |
| 00:43:52 |
We have found sledges. |
| 00:43:54 |
We have found ropes or |
| 00:43:57 |
We have found ramps of pyramids. |
| 00:44:03 |
The evidence has an |
| 00:44:06 |
but getting the story on film |
| 00:44:07 |
requires some distinctly modern tricks. |
| 00:44:20 |
Production designer Michael Buchanan |
| 00:44:22 |
knows everything has to look just right. |
| 00:44:24 |
I'm trying to make the plaster |
| 00:44:26 |
look like real stones. |
| 00:44:26 |
So it doesn't look |
| 00:44:37 |
The plaster stones weigh only |
| 00:44:39 |
a fraction of the real thing, |
| 00:44:41 |
but the actors' efforts are real. |
| 00:44:44 |
As the camera rolls, |
| 00:44:46 |
20-man teams haul the blocks |
| 00:44:48 |
on sledges up increasingly steep ramps. |
| 00:44:55 |
It's a dazzling sight... |
| 00:44:57 |
and one not seen on the |
| 00:44:58 |
Giza plateau in over 4,000 years. |
| 00:45:05 |
Until now |
| 00:45:06 |
I haven't seen any film |
| 00:45:07 |
that is done on ancient |
| 00:45:11 |
All that we see is like |
| 00:45:17 |
When I saw the stones |
| 00:45:19 |
it really looked like |
| 00:45:21 |
So this is a huge pay off |
| 00:45:24 |
of approval is a big, |
| 00:45:29 |
But more than stone was moved |
| 00:45:32 |
20,000 laborers |
| 00:45:34 |
traveled to the isolated Giza plateau. |
| 00:45:37 |
How they got here |
| 00:45:42 |
Four thousand years ago, |
| 00:45:44 |
the pyramids weren't |
| 00:45:47 |
The Egyptians built harbors |
| 00:45:49 |
the Nile deep into the |
| 00:45:52 |
We can imagine, |
| 00:45:57 |
Cheops building his pyramid, |
| 00:46:00 |
what he did |
| 00:46:03 |
and the harbor was |
| 00:46:06 |
The harbor was used every morning |
| 00:46:07 |
when the workmen are coming. |
| 00:46:10 |
Everyone is holding his lunch |
| 00:46:14 |
and coming in boats, and |
| 00:46:16 |
they work here and building |
| 00:46:17 |
the pyramid from the sunrise |
| 00:46:24 |
Bringing that ancient harbor |
| 00:46:26 |
one of the most difficult tasks |
| 00:46:30 |
but Bruce wants |
| 00:46:35 |
All the modern tools |
| 00:46:38 |
the river are cued |
| 00:46:41 |
and even the sailboat |
| 00:46:46 |
Duck out, man! |
| 00:46:49 |
Turnover! Roll it |
| 00:46:51 |
please turning, turning, turning. |
| 00:46:54 |
But nothing goes as planned |
| 00:46:55 |
the wind won't cooperate |
| 00:46:57 |
and the Nile's current forces |
| 00:47:04 |
Oh, man-collision! |
| 00:47:07 |
What was done with ease |
| 00:47:11 |
may be too much to |
| 00:47:18 |
We have a panic moment here. |
| 00:47:19 |
See what I'm wondering... |
| 00:47:21 |
if we had some good lengths |
| 00:47:22 |
we could throw on shore and |
| 00:47:24 |
It's a last ditch attempt |
| 00:47:28 |
near the shore and have |
| 00:47:30 |
the extras drag it in with ropes. |
| 00:47:37 |
Throw the damn rope. |
| 00:47:38 |
But the nightmare continues. |
| 00:47:40 |
The light is going, |
| 00:47:43 |
I quit... the boat looks great... |
| 00:47:46 |
yeah all the physical |
| 00:47:48 |
just, you know, |
| 00:47:50 |
we just want to get the boat |
| 00:47:53 |
turn around and come back. |
| 00:47:55 |
And we finally just |
| 00:47:56 |
we have to move on and |
| 00:47:59 |
At least there were no casualties. |
| 00:48:01 |
During the actual building |
| 00:48:02 |
mistakes often resulted |
| 00:48:04 |
in serious injury and sometimes death. |
| 00:48:08 |
Building the pyramid for sure |
| 00:48:11 |
we found about 12 skeletons. |
| 00:48:13 |
At least ten of them |
| 00:48:17 |
two of them had accidents |
| 00:48:19 |
It means maybe a stone |
| 00:48:25 |
Pyramid-building was dangerous work. |
| 00:48:28 |
In the next scene, |
| 00:48:29 |
the crew will film a runaway |
| 00:48:33 |
It's only a prop, |
| 00:48:41 |
Actors, extras, and an |
| 00:48:43 |
Egyptian stuntwoman must scramble |
| 00:48:46 |
out of the column's path |
| 00:48:49 |
There is little room for error. |
| 00:48:59 |
While the prop gets |
| 00:49:02 |
the film crew shoots |
| 00:49:13 |
She's quick! Thank God. |
| 00:49:17 |
I've done things like this before |
| 00:49:19 |
but not as dangerous. |
| 00:49:22 |
Finally, both camera and |
| 00:49:27 |
Three, two, one, go! |
| 00:49:48 |
The shot comes off without a hitch |
| 00:49:51 |
and the crew now turns to |
| 00:49:55 |
recreating the funeral procession |
| 00:49:57 |
of Egypt's most famous pharaoh. |
| 00:50:07 |
Carter, please, |
| 00:50:12 |
Yes, wonderful things. |
| 00:50:18 |
Wonderful things. |
| 00:50:20 |
In 1922, |
| 00:50:22 |
an obscure English archeologist |
| 00:50:26 |
unearthed the remains of an |
| 00:50:27 |
even more obscure pharaoh |
| 00:50:29 |
named Tutankhamen. |
| 00:50:33 |
Carter had discovered |
| 00:50:35 |
what all others had |
| 00:50:36 |
despaired of ever finding |
| 00:50:38 |
a virtually unlooted |
| 00:50:42 |
And the treasures of King Tut |
| 00:50:45 |
their grip |
| 00:50:52 |
Now director Bruce Neibaur's crew |
| 00:51:01 |
High above a desert valley, |
| 00:51:02 |
the crew prepares to capture |
| 00:51:08 |
In Tut's time, |
| 00:51:09 |
the pharaohs no longer built pyramids for |
| 00:51:14 |
filled burial sites in the |
| 00:51:22 |
The valley can be a tricky place to |
| 00:51:26 |
Reed Smoot, |
| 00:51:29 |
It's tough because the sun |
| 00:51:32 |
it's beautiful for about 30 seconds, |
| 00:51:34 |
It's midday. |
| 00:51:40 |
But everyone feels the pressure |
| 00:51:42 |
and lining up extras can be the bane |
| 00:51:54 |
Meanwhile, costume designer |
| 00:52:03 |
I'm not always calm. |
| 00:52:11 |
Months of research, design and |
| 00:52:16 |
And into the props as well. |
| 00:52:19 |
Egypt's finest artisans have carved |
| 00:52:24 |
Made of gold over plaster, |
| 00:52:28 |
And like the original, |
| 00:52:32 |
How heavy is the coffin, |
| 00:52:34 |
It's a nightmare. |
| 00:52:40 |
Advisor Nicholas Reeves |
| 00:52:43 |
The author of several |
| 00:52:45 |
Reeves is here to |
| 00:52:47 |
king's last rites are performed |
| 00:52:53 |
His only reference source lies deep |
| 00:52:59 |
on the walls of the tomb itself. |
| 00:53:02 |
Reeves also thinks these walls |
| 00:53:06 |
about how the young pharaoh died. |
| 00:53:10 |
Why should he have died at 17? |
| 00:53:12 |
There's no trace of TB |
| 00:53:16 |
Nothing at all. |
| 00:53:17 |
He was healthy when he died. |
| 00:53:19 |
And x-rays taken of Tut's skull |
| 00:53:24 |
Certainly x-rays of the head |
| 00:53:27 |
have been caused by a blow. |
| 00:53:31 |
In fact, |
| 00:53:34 |
and that his killer |
| 00:53:37 |
But as the sun creeps up |
| 00:53:39 |
the immediate concern is |
| 00:53:43 |
and on film. |
| 00:53:48 |
But before they can start, |
| 00:53:49 |
another question-what sound |
| 00:53:53 |
Taking their cues from |
| 00:53:56 |
they decide on wailing. |
| 00:53:58 |
And production designer |
| 00:54:01 |
for the bemused extras. |
| 00:54:07 |
But there's a last |
| 00:54:10 |
Reeves is bothered by |
| 00:54:13 |
There's no time for |
| 00:54:16 |
They've got to go. |
| 00:54:36 |
Action! |
| 00:54:39 |
Three thousand years |
| 00:54:42 |
golden light and mournful |
| 00:54:46 |
as the coffin of the 17-year-old |
| 00:54:50 |
its way to a final resting place. |
| 00:54:53 |
From an Egyptologists point of view, |
| 00:54:54 |
what's quite striking is the colors... |
| 00:54:57 |
the contrast of the gold |
| 00:55:01 |
and the noise and the |
| 00:55:05 |
I think it's captured very well. |
| 00:55:10 |
A filmmaker's imagination brings |
| 00:55:25 |
At last it's time to rehearse |
| 00:55:29 |
Ay, administers last rites... |
| 00:55:32 |
just as recorded |
| 00:55:34 |
But Reeves suspects Ay had more |
| 00:55:38 |
in the young pharaoh's death. |
| 00:55:40 |
Ay may well have had a hand |
| 00:55:45 |
I suspect. |
| 00:55:49 |
It was Ay who took over the |
| 00:55:54 |
but we may never know the truth. |
| 00:56:13 |
With the sacred rites finished, |
| 00:56:14 |
Tut's coffin was carried deep within a |
| 00:56:24 |
sealed in for an eternity... |
| 00:56:27 |
which turned out to |
| 00:56:37 |
Tutankhamen in life |
| 00:56:40 |
He's quickly forgotten by his successors |
| 00:56:44 |
Now he's probably the most famous |
| 00:56:48 |
I think if he's looking |
| 00:56:50 |
he's probably quite happy. |
| 00:56:54 |
One of my hopes for this film |
| 00:56:58 |
and they'll be stimulated enough |
| 00:57:01 |
learn more about the project. |
| 00:57:09 |
I keep looking at this stuff |
| 00:57:13 |
because I do feel at times like |
| 00:57:18 |
Creating a sense of past |
| 00:57:22 |
these days under the desert sun... |
| 00:57:25 |
hoping to share the secrets |
