Epic films have been guilty of indulging the worst habits of their makers. For example, Peter Jackson's The Lord of the Rings: The Return of the King didn't know how to end, while Joseph L. Mankiewicz's Cleopatra never knew how to begin. However, if all the achievements of a lifetime could be summoned by one title, it would be Saladin. Here the pacing, budget and a compelling story co-exist. Youssef Chahine's expansive, intimate and thoughtful yarn features a career defining turn from Ahmed Mazhar in the title role. Quite simply, the latter extols the twin virtues of subtlety and dignity.

While not a biopic, the chief focus ends up being Jerusalem. When Prince Renaud (Ahmed Louxor) orders the slaughter of pilgrims, the sultan responds. As in chess, the strategies of move and countermove -- always offensive, never kind -- offer a glimpse into the workings of a great military mind. Planning ahead and anticipating the enemy's response can prove definitive. With Renaud's army holding a 3 to 1 advantage, Saladin targets the enemy's water tanks. With his men dying from thirst, the prince heads for the pass yet he's defeated. Meanwhile, Virginia Princess of Kerak (Leila Fawzi) travels to England and France. She wishes to gain assistance from Richard the Lionheart (Hamdi Geiss) and King Philip (Omar El Hariri). Promises are made regarding who shall rule over Jerusalem if Saladin is defeated. However, the narrative develops considerable intrigue and momentum as unity turns to treachery.

Essentially, Saladin represents the finest qualities in epic filmmaking. Every moment achieves its maximum potential during the three hour running time. Also, the tone, characters, plot and narrative developments felt engrossing. Such fascination also extends to the presentation. For instance, one attack sequence plays as a kaleidoscope of claret, sand, gold and frozen expressions. For another, the decision not to show a fatality allows the weight of suggestion to trigger a key emotional response. 

As a measure of success, one need only contrast Saladin with another mammoth production from the same year, Cleopatra. In the latter, expensive sets were built yet underutilized, while other shows of extravagance came across as self serving. With Saladin, the bounties remain plentiful because there's a captivating idea at every point.

Few films are great, even fewer turn out to be masterclasses whose tectonic plates shift across time, evoking feelings both ancestral and modern. Would I consider Saladin as a candidate for best film of the 1960s? Absolutely!

(Released by Arab Film Distribution. Available on Netflix. Not rated by MPAA.)