1 Death shall come on swift wings to those...
Peter Cuching portrays an archeologist in this classic Hammer film about a descendant of the ancient Egyptian Magiicians who manage to enlive an ancient Sorcerer of his kind, by the necromantic rites of The Egyptian Book of The Dead. The ancient sarcophagus was unearthed from its tomb anf taken to England, which is seen as a terrible blasphemy, and the inevitable Curse begins to unfold.
The Mummy is reminiscient of the actual story of "Iye" {pronounced "eye"}, whose tenacious deceit brought him the Pharaoh's title for a time, after the murder of Tutenkamun and whtat would have been his Princess. The Egyptian is determined to kill the Anthropologist and almost succeeds through the Mummy, but the monster is distracted by the beauty of his Grand daughter {I will attest to her exquisiteness}, who reminds him of the beauty of the ancient princess. Twice her beauty thwarts the elimination of the Archeologist, until the Mummy finally takes her up in classic style, and runs off with her down to the swamp {romantic in an Addams sort of way}, where he is summarily destroyed.
It was actually quite a romantic scenario which brought the Mummy nigh. He was determined, in his original priestly mortal form, to bring his love back from the dead - so he stole away into her tombwhere the embalming process was already under way, and uttered the Word of Spell , but was found out by the Elder Priests, who then sentenced him to be sealed up alive in the sarcophagus to be her guardian for all time.
Karloff plays a most excellent Mummy, every bit as good as his portrayal of Frankenstein. A classic must-see
2 First and foremost!
Vintage it may be, with performances that at best are highly competent, at worst downright creaky. But make allowances for the fact that it's over 70 years old, and you'll have simply the best horror film EVER. What could prove more horrifying than when Imhotep's mummy, propped in its coffin, catches the light which glints off its eye, slowly opening after 3,500 years in the grave? Or Imhotep's first appearance, as Ardath Bey, to the archaeologists, filling the doorway with subtle malevolence? Or his final moments when, struck down by ancient goddess and protector of women, Isis, he collapses rattlingly into a pile of bones? Boris Karloff is riveting in every frame as the mummy redivivus and actress Zita Johann is radiant as the tormented reincarnation of Princess Ankh-es-en-amon, putting modern day actresses to shame with her blend of exotic beauty, sensuality and dignity. It's the granddaddy of all 'mummy' genre pictures, and quite simply the best!
3 Totally overated
I like those classic old horror movies, like Frankenstien, the wolfman, the invisble man,etc.But this movie( like Dracula 1931)
was absolutley boring. It had a good first scene in the start of the movie, when Karloff's mummy first comes to life, but after that he becomes a regular man and than the movie becomes a romance melodarma, not a horror movie. Their is no real suspense.
I realize that compared to horror movies today, some the older movies might seem tame, but movies like frankenstien , the wofman and their seguels haves their moments, but this one does not even about a mummy as we know it. Any body expecting to see a traditional monster will be disapointed. If I want to see a drama I will watch citizen cane.
Finally, I like Karloff, he did some great horror B movies, this was not one of them.
4 You'll really get wrapped up in this one!
The Mummy: No tongue, can't talk, but watch out for his hand! Yes, hand, cause he's only got one! And one is all he needs to provoke the women into the arms of their male companions. Sweet! My, but he is a "handsome" specimen. Seriously, this 70 year old movie still comes off as fresh as the day it was born. And this fella's perty darn fresh himself! Ladies, men, doesn't matter, he's not picky. A real creeper. He's a slow mover, but get him now before he gets away! AAAAA+
5 A Cornerstone of the Horror Genre-- and a fine movie.
[Please note that I am reviewing this movie, and although I've ordered it I
am /not/ reviewing the DVD. -J.]
It is only recently that I was treated to my first two viewings of this great movie, and I have to say that I wish I'd seen it years earlier. It has wonderful production qualities. The lighting is fantastic in evoking mood, the sets exotic but believable, and the costumes I think are also worth mentioning. I enjoyed the camera work, direction and performances of the entire cast-- all cooperate very well to create a fantastic swell of mood and terrific range of emotional color.
Above all, though, shines the magnificence of Boris Karloff. This is the the first movie I ever saw him in, and it made me an immediate convert. He has so little to work with and does so much that his performance radiates feeling
and makes the movie. Do not think for a moment of the enjoyably campy and entertaining flicks starring Brendan Fraiser (also a talented actor with a range well beyond comedy, see "Gods and Monsters")-- nor think of your run of the mill horror flick. Karloff's Mummy is gripped by pathos, cursed, so in love that he thinks of nothing else, and wrenchingly tortured inside by his own evil and depthless but ultimately selfish love; he believes in this love so much that he has sacrificed everything for it, even his life. He might also be willing to sacrifice the innocent even for just a kiss from his long-dead beloved's spirit, no matter who must pay the toll.
All of these things come through somehow. Perhaps it's in the eyes? Perhaps the way he commands the screen with his huge, strange body? It's more than any of these things, I was blown away.
Not to be missed! Don't let this one pass you by.
6 The first and still the best mummy film ever made
The monsters unleashed by Universal Pictures across the screens of America in the 1930s left an indelible impression on the American psyche that will never be forgotten, and The Mummy stands among the most memorable of all those classic monster movies. Boris Karloff simply is The Mummy, defining the role for all generations to come. Don't think he's just sleepwalking around in bandages, either; no, while he may be the prototypical mummy, he is not the hunk of animated flesh that his successors all seemed to turn into. Karloff in fact gives an impressive dramatic performance in this role. The action begins in 1922, when British Egyptologists Dr. Muller (Edward Van Sloan) and Dr. Whemple (Arthur Byron) make a potentially incredible discovery underneath the sands of Egypt. They soon identify a mummy they have recovered intact as Imhotep, but they know this is no ordinary mummy because he was not embalmed, there is evidence of his having struggled within his all-encompassing bandages, and the blessings designed to protect his voyage to the afterlife were removed before he was buried. Along with Imhotep the explorers find an intriguing box, one that carries a dire message for those who would open it. While Dr. Muller tries to convince Dr. Whemple to heed the curse and leave the box unopened, their younger associate gives in to his temptation, discovers a scroll inside, and reads from it. Hereby is Imhotep brought back to life, and the mummy shuffles off into the desert.
There is no news of Imhotep for years, and Dr. Whemple returns home vowing never to return or to speak of what he knows. Ten years later, though, his son (with a little help from a mysterious Egyptian named Ardath Bey) makes a fabulous find of his own underneath the sands, the grave and mummy of the Egyptian princess Anckesen-Amon, and so the elder Egyptologist returns to Egypt. As luck would have it, the young Dr. Whemple falls in love with Helen Grosvenor (Zita Johann) a half-Egyptian girl who turns out to have a strong connection to the newly discovered mummified princess who, it turns out, just so happens to have been the object of Imhotep's love and sacrifice. The mummy, completely human in appearance now, works to raise his love from the dead with the aid of the Scroll of Thoth, and it is up to young Dr. Whemple and Dr. Muller to safeguard Helen from a fate seemingly ordained millennia ago.
The most interesting thing about this movie is the fact that the mummy only appears in the traditional, caricatured apparel of rotting old bandages at the very beginning, after which point he takes the form of a man - an eccentric one with captivatingly powerful eyes and supernatural powers, but a man nonetheless. After a spooky beginning, the movie eventually takes a detour into romance and melodrama and never fully recovers its steam. While Karloff could appear quite menacing and malevolent, he is hardly the stuff nightmares are made of. I think the story is a little weak in the last stages, but this is still a five-star film based on its fame, its immense influence on the genre, and its overall quality; for a film from 1932, this print is simply amazing in both its audio and visual quality. And, though I need not say this again, Boris Karloff gives a subtle, captivating performance as Imhotep.
7 The Best of the Best
I'm not entirely sure why, but much as I enjoy all of the Universal horror classics, for me "The Mummy" is just far and away the best, and a good part of that opinion *may* be down to Boris Karloff's superbly understated performance.
Having made the first Frankenstein film only the year before (1931) - at which time he appeared halfway down the cast list simply as "?" - by the time he came to make "The Mummy" he had been promoted to the spot ABOVE the title, as "Karloff the Uncanny". (This would have been less memorable had it not been for the fact that Karloff was actually an Englishman, and his real name was William Pratt. A number of genuine emigres from Eastern Europe were working in Hollywood at this time, and it was quite usual for them to be credited without any forename.)
As to the film itself, it is important to remember that it was made at a time when TV didn't exist, and a car chase at 60 mph was hot stuff. Though the pace may seem slow by today's standards, in its time it was a magnificent example of mounting suspense. Indeed, considering that it has a running time of only an hour and ten minutes, it actually contains a lot more plot development and characterisation than the average one hour TV programme.
I'm not going to go over the plot here, previous reviewers have already done that justice. I would, however, congratulate Universal on the excellent package of "bonus" material which makes the DVD so attractive even if you already have the film on tape.
There is the almost obligatory sets of stills and posters, plus the original trailer. What is quite unusual, and says a great deal for Universal's commitment to value, is the specially made background feature "Mummy Dearest" (a title borrowed from a rather bitter biography of Joan Crawford by her daughter, if I remember correctly), and the full length "Feature Commentary" by film historian Paul M. Jensen.
"Mummy Dearest" is full of interesting insights, including a brief resume of the discovery of King Tutenkhamun's tomb, in Egypt, which created a general fascination with ancient Egypt in both Europe and the USA, and which paved the way for this film.
It certainly explains how the original storyline, about a three hundred year old Italian mystic, Cagliostro, ended up as film about a 3,700 year old Egyptian priest called Imhotep.
Unlike Tom Weaver's rather high speed commentary on "The Wolf Man", Paul Jensen's contribution is a little more measured - but just as interesting in it's own way.
Jensen is equally interested in both the background to the film - actors' previous and subsequent work, etc. - and the actual film making process. This can seem a little irritating at first, as he seems to be simply describing what you can plainly see for yourself. But after a very little time we find that Jensen is actually highlighting the film maker's technique to show why the camera was placed 'here' rather than 'there', and how, even in 1932, Karloff and the film's director, Karl Freund, were already masters of the "less is more" technique.
So, both for the film and for the excellent package of "extras", this is definitely a worthy addition to any classic horror film fan's collection.
Highly recommended.
8 Fun occult tale
The Mummy is a classic horror film, staring Boris Karloff. It begins when archeologists discover a mummy and a box. The box warns to not open, or else evil will come to him. The archeologist does not believe, and opens the box to discover a scroll in it. He reads it out loud, which brings the mummy back from the dead. Ten years later that mummy is searching for his reincarnated love. He performs a spell to attract her to him, and after the girl tries to find him, she is soon found to be under the spell, by a father and son team of archeologists. The son falls in love for her, and he trys to thwart the mummys plans. But the mummy soon catches her and shows her who she was back in Ancient Egypt when they were in love, and how she died, and he tried to bring her back to life, for which he was buried alive for. So now the girl is torn betweer who she really is, the old egyptian women reincarnated, or a new women. In the end she decided shes a new woman, and rejects the mummy. But the mummy has plans to murder her, and awaken her from the dead, in her turn spirit self, to live together in love, forever. It is up to the man who loves her to save her from the mummy.
Overall the film is average, and drags in a lot of spots. The story becomes more and more interesting as the film progresses but it moves very slow. The film is mostly dialog driven, and I can't see anyone enjoying this much, unless they are fans of older films, or horror films. Egyptology fans may enjoy this, as some parts are histoically acurate. I wouldnt buy this unless you are a fan, so either rent or watch on tv first. 3 stars. Check it out, if your a fan of the topics I have mentioned.
9 The original mummy back from the dead love triangle movie
We all know that the problem with the 1932 Boris Karloff thriller "The Mummy" is that the mummy only looks like the mummy at the beginning of the movie. Then he just looks like Boris Karloff, albeit with really weird looking skin. But the makeup Jack Pierce did for Karloff is very impressive (better than the Frankenstein job for my money). Consequently, the beginning of this film, is actually the scariest part of the entire film. This is where we follow the expedition from the British Museum led by Dr. Mueller (Edward Van Sloan) and Sir Joseph Whemple (Arthur Byron), who discover the mummy of Im-ho-tep (Karloff), who was (gasp) buried alive. Near the mummy case is a small golden casket inscribed: "Death. Eternal punishment for anyone who opens this casket." Of course young Ralph Norton (Bramwell Fletcher) is not only foolhardy enough to open the casket but he compounds his mistake by actually reading the scroll he finds inside (if only he did not read Ancient Egyptian). Next thing we know the mummy has come to life, walked across the room in his moldy bandages, and taken the scroll from Ralph. The mummy disappears and Ralph is turned into a raving lunatic.
Ten years later another expedition is searching for the tomb of the Princess Ankh-es-en-amon, when a mysterious man, Ardath Bey (Karloff), shows up to show them where to dig. They find the princess, but then Bey has...disappeared. Of course, if you have seen the recent film version of "The Mummy" you have a good idea of where this bizarre little "love" story is going. But there is something to be said for the simplicity of the original story as told here. Zita Johann plays Helen Grosvenor, the current reincarnation of the dead princess and David Manners is Frank Whimple, part of the second expedition and the third member of our little love triangle. Noble Johnson who plays the Nubian, would play the Native Chief in "King Kong" the following year (how can you forget that name?).
The ending of this film probably suffers in my mind simply because it is so melodramatic compared to the simplicity of the spooky beginning. Karloff's performance is one of his best and helps to sustain the story despite some of the acting lapses of the other cast members. John L. Balderston's script deserves mention for his attempt to accurately characterize ancient Egyptian notions of death and rebirth. This film was followed by a quartet of other mummy movies featuring a different mummy, named Kharis, who is an avenging mummy kept sleeping by the Priests of Kharis and revived by the juice of forbidden tana leaves. These films ("The Mummy's Hand" in 1940, "The Mummy's Tomb" in 1942, "The Mummy's Ghost" in 1944, and "The Mummy's Curse" in 1945) all have the virtue of the title character wandering around still swarthed in bandages throughout the entire film. However, Karloff's original is still the best of the bunch.
10 THIS IS THE ONLY MUMMY FILM WHICH WILL LAST FOREVER! A++++++
BY FAR UNIVERSALS GREATEST HORROR FILM! THE BEST MUSICAL SCORE OF ALL THEIR MOVIES! THE MUMMY/ARDETH BAY MAKEUP THOUGH DONE IN 1932 IS STILL AMAZING TODAY! THIS WAS MAKE-UP ARTIST JACK PIERCES GREATEST CREATION! BORIS KARLOFF GIVES HIS GREATEST AND MOST NUANCED PERFOMANCE! THIS MOVIE HAS AMAZING EGYPTIAN SET DESIGN BEAUTIFULLY RENDERED! THIS IS WITHOUT A DOUBT THE MOST ATMOSPHERIC AND DREAM-LIKE FILM MADE IN ANY GENRE! THIS MOVIE IS MORE OF A CREEPY GOTHIC ROMANCE THAN A SHEER HORROR FILM. NEVERTHELESS THE OPENING SCENE IN WHICH KARLOFFS MUMMY IS BROUGHT BACK TO LIFE IS TERRIFYING! THIS IS THE CLOSEST A FILM AS EVER COME TO POETRY! THE DVD IS EXCELLENT WITH A PRISTINE PICTURE TRANSFER! AND GREAT MENU ARTWORK! NOT TO MENTION LOTS OF GREAT EXTRAS! WATCH THIS FILM ALONE IN THE DARK AFTER MIDNIGHT FOR MAXIMUM EFFECT! ALL OTHER MUMMY MOVIES ARE FORGETTABLE B MOVIE TRASH IN COMPARISON!
11 Look Mummy, no praise!
I noticed that there isn't a single one-star review on here. Well, there's going to be one now. I really think this deserves a negative rating, like -5 stars, but since that isn't an option, I'll simply have to opt for the lowest available.
I didn't really want to watch this movie to begin with but my dear mother wanted to give it a whirl so I figured I'd just do the same. Afterwards we both agreed that it was a total waste of time that could have been spent in such infinitely more profitable ways. First, the whole occultic aspect was sickening to me; second, the acting, script, plot, and everything else about the movie was not worth much comment except negatively. Third, pizza is best without mushrooms. In fact, every kind of food is better without mushrooms.
Mushrooms and Mummies aside, if you want to watch a good suspense or "horror" film try Fredric March's "Dr Jekyll and Mr Hyde" or most any Alfred Hitchcock movie. At least those are well-done pieces of artwork as well as masterpieces as far as acting, script, plot, and everything else about them.
Thank you for your time.
12 "Come out under the stars of Egypt."
The first mummy flick is unique among classic horror movies. The Egyptian tale has the dark and moody look of Teutonic art. True to his cinematographer background, director Karl Freund emphasizes presentation over shock value. Instead of nail-biting suspense, terror slowly develops. Unlike subsequent mummies who shuffled around covered in moldy Ace bandages, Im-ho-tep (Boris Karloff) only briefly appears in this attire. After his terrifying resurrection scene, Karloff sheds the bandages, and poses as Ardath Bey, an expert in ancient Egypt. His skin is parchment dry, and his eyes glow with supernatural intensity. He is evil incarnate. Executed 3700 years ago for vile sacrilege, he rises from the dead after the desecration of the sacred ruins. Im-ho-tep seeks to contact the spirit of his forbidden love, Princess Akes-se-namun (sp.?). He finds a woman (Zita Talbot) in modern day Egypt, and believes she is the reincarnated princess. Im-ho-tep has mesmerizing power. He bends the Nubian servant (the stony faced Noble Johnson) into a willing slave. The ancient blood prevails. Im-ho-tep beckons and the princess can only submit. Edward Van Sloan plays the academic type that understands Im-ho-tep's motives and methods. Those who profaned the sacred tomb meet a grim end. Together, Karloff and Freund make this film a classic. The comic-book level Mummy action adventure flicks of recent vintage suffer in comparison to the genuine article. ;-)
13 The Most Subtle of Universal Studios Horror Classics
Although frequently reinterpreted, the original 1932 THE MUMMY remains the most intriguing film version of a story inspired by both 1920s archeological finds and the 1931 Bela Lugosi DRACULA: when an over-eager archeologist reads an incantation from an ancient scroll, he unexpectedly reanimates a mysterious mummy--who then seeks reunion with the princess for whom he died thousands of years earlier and ultimately finds his ancient love reincarnated in modern-day Egypt.
Less a typical horror film than a gothic romance with an Egyptian setting, THE MUMMY has few special effects of any kind and relies primarily upon atmosphere for impact--and this it has in abundance: although leisurely told, the film possesses a darkly romantic, dreamlike quality that lingers in mind long after the film is over. With one or two exceptions, the cast plays with remarkable restraint, with Boris Karloff as the resurrected mummy and Zita Johann (a uniquely beautifully actress) standouts in the film. The sets are quite remarkable, and the scenes in which Karloff permits his reincarnated lover to relive the ancient past are particularly effective.
Kids raised on wham-bam action and special effects films will probably find the original THE MUMMY slow and uninteresting, but the film's high quality and disquieting atmosphere will command the respect of both fans of 1930s horror film and the more discerning viewer. Of all the 1930s Universal Studio horror films, THE MUMMY is the most subtle--and the one to which I personally return most often.
14 This mummy is not wrapped up for long
If you think of a being covered with bandages shuffling its feet along, then you are not thinking of the same mummy that is in this movie. That image is more Lon Chaney, but here, Boris Karloff is the ancient priest, Im-Ho-Tep, who has come to bring his beloved princess back to life. He is only wrapped up in this movie briefly, and you do not see him move in the bandages.
An archeological dig for the British Museum has unearthed his grave and has found the mysterious Scroll of Thoth. This scroll has the power of bringing the dead back to life. After reading it, a young scientist brings him back to life. The mummy takes the scroll and leaves.
Years later, a local man shows a different archeological expedition where to find the tomb of an ancient princess. He follows the remains from the tomb into the museum and tries to raise the princess. The bulk of the movie concerns his attempt to reunite himself with the princess.
Is the movie scary? There is some good make-up on Karloff to make him look very old. His power is either in his eyes or his ring. Neither power is explained in the movie. Through a lighting effect, you will know when he is using mesmerism to attain his diabolical goals.
Even though this does not have the stereotypical mummy, it is a good movie. I would recommend it for horror fans. This movie was filmed after "Frankenstein."
15 Only Boris Karloff could do it this well
The Mummy is outstanding particularly because it is just the sort of concept which could have easily become camp or boring. Boris Karloff's depiction here is nothing of the sort! His intensity, and reserved and chilling dignity, give this film an eerie yet intelligent quality that distinguish it amongst the monster genre.
This is not a "scare flick," but an intelligent portrayal of three goals, amongst different characters, which create the conflict: the occult (underrated Egyptian magical arts which only the wisest archaelogist immediately realises are not to be discounted); scientific discovery; a passionate and possessive love that spans millennia. Curiously, these strong impulses all are presented in a surprisingly plausible approach. Though there is nothing gruesome in this film, and children could view it with no undue fear, this is an adult plot, best suited to those who enjoy both intense psychological conflict and the admission that there is much we can never understand.
16 Good Looking Mummy
This is a movie that is easy to enjoy. It starts out with a young archaeologist unable to resist the urge to peek inside a crumbling box and translate from the parchment found within. His reading from the parchment awakens, I think, the best-looking mummy every made. All we see is the mummy's hand grabbing the parchment, notice the ring on his finger, and then slowly leaving the tomb with a single strand of bandage as he goes through the doorway. The rest of the movie has the mummy, not so mummy looking, looking for his reincarnated princess for whom he died.
There are times where the movie is slow, but Boris Karloff gives another fine performance and the mummy's makeup is top notch.
17 "Never Saw a Mummy like That"
The incomparable Boris Karloff is Im-Ho-Tep, a 3700-year-old Egyptian priest inadvertantly raised from the dead by an archaeological expidition. In the guise of Egyptologist Ardeth Bay, Im-Ho-Tep roams contemporary Egypt in search of his long-dead love Ankh-Su-Namun, who has been reincarnated in the form of Helen Grosvenor (played by Zita Johann).
While Karloff does not evoke the same mix of sympathy and revulsion that made his portrayal of the Frankenstein monster so memorable, he still does a ripping good job at creating a frightening and convincing Im-Ho-Tep/Ardeth Bay. Karloff's performance is enhanced by the work of first-time Director Karl Freund--previously the cinematographer on 1931's DRACULA--who does an excellent job of exploiting both visual composition and off-screen (i.e., implied) thrills to create an atmostpheric horror show. And the contribution of make-up Artist Jack Pierce should not be underrated; he turns Karloff into a believable walking corpse that radiates a sense of death and decay.
Though THE MUMMY is nearly 70 years old, it has aged well. In spite of the lack of the graphic gore that has become commonplace today, the imagery in this film still creates a sense of doom and terror, and Karloff and company are able evoke a true fright that clearly demonstrates why the classic horror flicks are often better and genuinely scarier than those cranked out in the Hollywood mills today.
18 Great Classic has DVD Sound Shortcoming
I bought 1932 version of The Mummy in DVD last year along with some of the other Universal horror classics from the 1930s that have been issued in this format. You can believe all the rave reviews here but I was disappointed with one technical aspect of the DVD version of The Mummy: the producers used some type of noise suppression to eliminate a slight hiss on the soundtrack. As a result, the track has a somewhat bassy sound that forced me to boast the volume to hear ordinary dialogue but then reduce the volume when music or other higher volume fxs are introduced. I did not have this problem with the other Universal DVDs in this series nor do I recall this problem with my earlier VHS editions.
I knew it wasn't my imagination when I watched the accompanying documentary. Clips from the film appear in crystal clear sound but with a slight hiss absent from the full-length feature. Obviously, one of the technical people producing the DVD made a judgment call that a bassy sound track was preferable to a slight hiss - and I couldn't disagree more. This MUMMY needs to be reissued someday with restored sound.
19 Not to be confused with "The Mummy's Hand"
The other reviews are pretty extensive but I just have to add that this is NOT the movie where tana leaves reawaken the well- known foot- dragging man-strangling mummy's-curse monster. THAT movie is "The Mummy's Hand", with Dick Foran and Tom Tyler. This is a considerably different affair with the rather suave former mummy, Imhotep aka Ardath Bey, played by Boris Karloff in one of his better speaking horror roles.
20 Mum's the Word!
Ever see the new Mummy movie? That Mummy Man only knew one trick--gouging out people's eyes--and seemed to spend most of his time bellowing with his mouth open. What a tiresome fellow! Well, if you dislike that sort of thing, then THIS MUM'S FOR YOU. Karloff's mummy may start off swathed in bandages, but after initially being raised from the dead, he ever after sports a fez and a long robe. He keeps his mouth closed between sentences, but he does a lot of intense staring, especially at that lady who happens to be the reincarnation of his lost love, the princess for whom he committed "an unholy thing", and got buried alive for his pains. I thought it was great that the mummy was interested in getting on with his (after)life once he got reanimated. Ten years lapse between his own resurrection and the finding of the princess's tomb--I was curious to know how the mummy supported himself in the meanwhile, since he had a pretty nice house and had learned to speak British English so well--and he didn't even start out with the proverbial "clothes" on his back! Yes, he may exercise mind control from time to time, and even be able to induce heart attacks from a distance, but that was only because meddlesome folks tried to curtail his activities in raising up the princess again--he actually has modest ambitions compared to the later mummy who surrounds himself with an army. I found Karloff's mummy extremely sympathetic and was sorry to realize that he wasn't going to get his heart's desire after all. An especially interesting development is that the young woman who is the princess's reincarnation is quite obviously turned on by Karlloff when she meets him accidentally, even though the men in the movie find him creepy and dryskinned. But let's face it--he's much more intriguing than David Manners, the "hero" of the piece. Why, he can't even figure out a way to save her--she must do so herself by beseeching an ancient Egyptian goddess! Check out Karloff's Mummy for a surprisingly touching performance--a "mum"mentous achievement!
21 Horror Classic that has withstood the Sands of Time!
Karl Freund makes an impressive directorial debut after years of cinemaphotography for the German Silents (and DRACULA) with Boris Karloff starring as the undead Mummy Im-Ho-Tep, later rejuvenated posing as an Egyptian Prince Ardath Bey, once again proving his remarkable versatility as an actor in this creepy original 1932 classic THE MUMMY. The film is a wonderful mixture of horror and romance. Zita Johann is excellent in a dual role as young Helen Grosvenor whom Karloff mistakes for his long lost love. David Manners and Edward Van Sloan (from DRACULA) are a joy to see again as the heroes. Also memorable are Arthur Byron as the Museum Owner ever fearful of the curse awaiting those who disturbed the Mummy's resting place, as is Bramwell Fletcher as the student who breaks up in insane laughter after accidentally reviving Karloff "He went for a little walk. You should have seen his face!" DVD contains a fascinating documentary appropriately entitled "Mummy Dearest" hosted by Rudy Behlmer, and the film commentary by Paul M. Jensen is also guaranteed not to disappoint. If it's creepy terror you're in the mood for, simply turn off the lights, stay close to your loved one, and enjoy - THE MUMMY! PS: Don't miss the trailer!
22 Boris does it again.
Boris Karloff was able to place another memmorable monster role along side his three roles as the Frankenstein creature, this time as an anicent Egyptian prince who awakens after centuries of sleep and tries to revive his long lost love, who now lives as a modern woman. It's a tale of love a bit more then horror, and this movie was certainly superior to all the Mummy films that came after it.
23 1000 Years of Longing
This is perhaps Boris Karloff's finest performance. His resurrected Imhotep is tall & cadaverously thin. He moves with a carefully stilted walk, as if any misstep would cause his ancient bones to crack and crumble him to the ground. The finely wrinkled face is still and impassive, the lips barely moving as he speaks in a papery thin whisper of his yearning for his long ago lost love, for whom he has sacrificed everything. But the eyes burn in that masklike face, the same eyes that stared at us in mute terror at his living entombment.
This is great stuff! Highly romantic with a marvelous mood and atmosphere, this is a Mummy with class. The movie has great moments such as the above-mentioned living burial and that unforgettable stare of terror, the insane cackle of the unsuspecting perpetrator of Imhotep's resurrection, Karloff & Johann staring into the pool, and so on. And, in Zita Johann, Karloff has a beautiful, exotic woman worth loving across centuries.
This is The Mummy for grownups. The Brendan Fraser version is more for the kids, which is perfectly okay. It's about noise and action. This Mummy is about subtlety, mood, and eternal desire, and it is a quiet Classic.
24 The Mummy (Boris Karloff)
This is the one, folks. All other mummy movies are lame in comparison. Brilliantly directed. Karloff is priceless as usual.
25 "I shall awaken memories of love and crime and death ..."
With these words, the viewer is once again seduced by Boris Karloff's amazing ability to bring to life, so to speak, characters that have been long dead. By 1932, when "The Mummy" was released, Universal was the leading Hollywood horror studio. "The Mummy" was ... ahem ... one more nail in a very successful sarcophagus, providing Universal with more acclaim and Karloff with another notch in his already-outstanding cinematic resume.
Now released on DVD as part of the Universal Classic Monster Collection series, "The Mummy" reflects the rampant interest in America at the time in all things Egyptian, brought about mainly by the discovery of King Tut's tomb by Howard Carter some 10 years prior. The supposed curse that was to have been visited upon anyone who disturbed the boy king was even worked into the script of "The Mummy" which was, originally, not an Egyptian movie at all but which was based on an historical Italian alchemist/hypnotist who claimed to have lived for centuries.
In the film, the mummy, Im-Ho-Tep (pronounced "M-Ho-Tep") is accidentally revived after 3,700 years by a team of British archaeologists. He was once a priest, buried alive for attempting to revive the vestial virgin whom he loved following her sacrifice. Alive once more, and now calling himself Ardath Bey, he is looking for his lost love ... and of course, he'll need a living stand-in ...
The "making-of" documentary included in "The Mummy", entitled "Mummy Dearest: A Horror Tradition Unearthed", is, like all the other documentaries in this series, a delight. One special feature of this particular documentary details the process used by make-up king Jack Pierce to turn Karloff - who in life was quite a handsome man - into a dried-out corpse. When one considers - both in the Frankenstein films and "The Mummy" - the physical rigors which Karloff endured to bring his gallery of monsters to life, this dedication to craft alone is truly amazing. From enduring layers of make-up often combined with foul-smelling chemicals, to wearing padded clothing weighing 30 pounds or more, to being wrapped in bandages and accidentally not given a fly through which the actor could relieve himself throughout the day, "Karloff The Uncanny" endured all and, as a result, gave us performances unmatched by any actor living today.
The double performance of Zita Johann as both the Egyptian princess and her modern-day character is nuanced and blends perfectly with Karloff's measured emotion, which evokes a romantic aura in his character that makes him seem more sympathetic than evil.
Feature Commentary by film historian Paul Jensen provides a treasure chest of trivia for horror film buffs and Karloff devotees, as do the original trailers and cast and filmmaker's biographies included in the DVD's extra goodies.
Get lost in the world of "The Mummy" and you'll never want to leave.
26 Karloff was spectacular
I have to admit, I saw the 1999 version first, which I did not think was bad. It wasnt until recently that I saw this earlier film along with several other Universal horror classics. First I would like to say that to compare this version with the 1999 version is a mistake, I have seen several remakes of old movies in the last ten years and it seems to me that they should not be compared on the same scale, even when it is a rehash of the same story. I thought Karloff did a wonderful job on this picture. It was a good idea not having him walk around in bandages the whole time and this one was certainly superior to the many sequels that followed it. Not as much of a favorite to me as Dracula or bride of Frankenstein, but then I'm more of a Lugosi Fan than a Karloff one, but nonetheless. This is a must see for anyone interested in classic universal horror. I cant wait to receive it on DVD.
27 Karloff shines a true horror classic
This movie rivals Dracula and Frankenstein as being one of the all time great Universal,or any other horror movie. Karloff sets an errie atmosphere as IM HO TEP the high priest sentenced to living death for offending his gods. Amust for all.
28 Karloff makes Brendan Fraser look like a MORON!
Boris Karloff is a cinematic GOD! There is nothing finer than to sit in a dark room at Midnight watching a Karloff classic, such as The Mummy. The sets were fabulous, considering the time period. The acting was top-notch, as was the script. To some people, the effects would be considered sub-standard. However, I believe them to be spectacular. I would recommend this flick to anyone who wants a good storyline, campy action, overall superior film making, and to see a timeless classic.
29 " He went for a little walk. You should've seen his face! "
The traditional image of 'mummy' films is of a heavily bandaged man, arms outstretched, walking slowly towards his victims (and still managing to catch them). Not in this movie! Universal's 1932 chiller is way above any other mummy film you have seen - including the quartet of 'Kharis' films of the 1940s. Right from the opening titles we are presented with a stylish, well acted, beautifully photographed masterpiece of a horror film. Amazingly, given the film's title, Boris Karloff only appears in bandages for a brief period at the beginning of the movie, and even then only from the waist up. But such is the quality of the writing and the expert direction of Karl Freund, the story remains riveting throughout. Zita Johann also deserves special mention for her portrayal of Helen Grosvenor, she is a real asset to the film. As for the DVD, picture quality is exceptionally crisp and clean. I doubt if a significantly better print will ever surface. In keeping with the other Universal Classic Monster Collection DVDs the disc contains a trailer, cast & crew bios, production notes, photographs and a well put together documentary. The only slight let down is Paul M Jensen's commentary. Though informative, it is not as conversational or easy going as some of the other Universal DVDs. But this is just a minor quibble of an otherwise outstanding DVD. This is definitely one for your Shopping Cart!
30 Mummy is Classic, but resembles Original Dracula(30)
If you took this film and interchanged it with the charcaters from Browning's Dracula of 1930....well just a thought.Edward Van Sloan is the doctor who again insists that"we mus destroy it! David Manners is the romantic lead.Film really does resemble Lugosi Dracula(30). Karloff and Jack Pierce spent hours and hours with make up sessions and we only see the mummified mummy for a quick minute or two!However, the real terror and chills comes from Karloff's performance as the unmummified revived Ardeth Bey who is just as menacing as the "mummy". I liked the opening scenes best involving the archeologists at the 1920s dig site headquarters.Film tends to prod along at a slow pace, but is still good Universal creaky horror.
31 Hauntingly Beautiful
This is quite simply the most beautiful horror film ever made, and yet it isn't really a horror, more a tragic romance. There's nothing leaping out from behind the door to get you, just a slow building of psychological and sexual tension. This is my favourite role of Karloff's; his eye's are the most expressive of the black and white era.
The story has been explained by others here, but nothing can truly compare to seeing the film. Some people may find it a little stagy compared to modern standards, especially if they are coming to this after the recent remake of the film by Sommers. While I enjoyed that film, and Arnold Vosloo's new tall, dark and hansome spin on Imhotep, nothing can compare to the sheer weight of loneliness Karloff expresses in the film. His very movements seem weighed down by his loss.
The other characters are great, even if Manners is a little...well, dull. Johann is beautiful and believable as a woman torn between her attraction to to the young gallant, Manners, and the haunted, mysterious Ardeth Bey, who offers her an 'eternity of love.' Also, Bramwell Fletcher's screams are chilling; I've never seen anyone do hysterical terror better.
If you go into this film expecting shocks, a fast pace and gore, you are going to be dissapointed. However, if you want a gothic tale of true love doomed to dissapointment, look no further. I cannot recommend this film enough.
32 Vintage Chills and Thrills with Boris Karloff
It is hard to believe that if Bela Lugosi would not have been so proud, he would have played 'Frankenstein' back in 1931 and Boris Karloff may never have been 'discovered'. In this movie he is at his creepy best; that unforgettable drawling, lisping, well enunciated voice (how a Mummy from ancient Egypt got a slight British accent we are best off not to ask), along with a great make-up job by Jack Pierce, make this one of his best (of many) bogey-man performances. The rest of the cast is adequate, although David Manners, who was the romantic lead in several of these Universal classic horror films of the early '30s, is about as colorless of a 'hero' as you could hope for. A good creative story with elements of 'Dracula' but is largely original. Features one of the most eerie scenes in movie history, early in the film (and without background music), where a bandaged up Boris sloooooowwllly wakes up from a 3700 year nap and greets poor unsuspecting Bramwell Fletcher rather rudely.....a great example of a scene that scares without shocking (and one that most of today's slasher-flick film makers should watch and take notes on!). Eeeeeeeeeeeeeeeee!
33 THE EXCELLENT ORIGINAL
Despite its stylized dialogue and the unbelievability of many of its individual scenes, THE MUMMY owes its ultimate success to Freund's skillful direction and Karloff's remarkable two-part characterization. In terms of its basic story costruction, the film suffers somewhat from an overly convoluted plot and from a somewhat unsatisfying conclusion, but THE MUMMY is a potent film that imparts a feeling of being suspended in time. Karloff, firmly establishing himself as Lon Chaney's successor, gives a hypnotically compelling performance (and very different from his interpretation of Frankenstein's Monster!). Karloff seems to glide rather than walk, and his facial muscles never move. Only his eyes express his profound inner turmoil, as in the burial scene, when the tapes are drawn across his mouth and nose, leaving open his wild eyes to face the prospect of eternal sleep. This brilliant make-up job done by the genius make-up artist Jack Pierce took an incredible EIGHT hours to apply! Ingeniously, Pierce literally cooked the cloth to give the illusion of having rotted away centuries ago. Although the film addresses the conflict between death and immortality and the idea that one must live out his destiny, it is, at its purest level, a love story; Karloff's obsessive devotion, the script suggests, is a sickness that only love can bring. Karloff tells Johann "All this I endured for thee", reflecting a timeless belief in the curative powers of love. The elusive Hungarian actress (she played on Broadway with Clark Gable in the twenties) Zita Johann does quite well as Helen; her features were unusual and exotically striking; she was quite believable in her role as a part Egyptian. This 1932 movie is still a stunner with many classic scenes which I'm not going to reveal!
34 The ancient mummy has the power of ages
Boris Karloff holds an ancient and mysterious power in this wonderful template for all the mummy movies that have followed.
Considering that movie styles, audience tastes and demands and cinema technology have moved light years from the 1930s, it is intriguing that Karlof's mummy is as rivetting in its own way as the 1999 version is in its.
It's intriguing to note that the 1999 version still contains flashbacks to the Karlof one - "just a silly Eastern superstition" is one line contained in both. The makers of the 1999 version have honoured Karlof, and that is great to see.
In many respects, it's probably wrong to "compare" the two. it's like comparing apples with oranges. However, the fact that the modern Imhotep and his crew have sparked renewed interest in Karlof's Imphotep is a gracious and wonderful result; as well as the sincerest form of flattery.
When Karlof walked before the camera, he was working within a genre that owed more to stage than cinema; a time when cinema was still finding its own methods of expression. However, having said that, Karlof's presence - particularly the heavily shadowed close-ups and his sheer power even given the primitive cinematography he had to work with - still claims for him the place as the best Imhotep. He had no special effects to back him up; he could not even kill someone on camera because of the censorship rules of the time; yet he still exudes a knock-out force.
Now, in 2000, he still does. That, truly, is "the power of ages".
35 This movie was supposed to be a horror film?
The directors didn't really achieve in making this move scary. (except for the man eating bugs) It had a good story line and a few jokes. Definetely don't watch this if you are looking for a horror movie.
36 They did it right the first time!
The 1931 "Mummy" should be a lesson to film studios that less is definitely more. The hypnotic, and almost hallucinogetic atmosphere takes hold of you from the start and never lets up for a moment. Karloff's understated performance is a timeless classic! Forget the recent (and forgettable) remake with its "eye-popping special effects" and Dolby digital sound thundering away at you...the opening moments of the 1931 version will haunt you for the rest of your life (that is, unless you're one of the MTV generation who needs a constant barrage of explosive and restless outside stimuli to get through to you....)!
37 A Real Original
Very well directed and presenting great quality for a 1932 movie, Boris Karloff has confirmed he is the true master of horror. This film draws you in with it's erie music and well produced flashbacks to ancient Egypt, add to that it's historic touch and it is worth renting at your local video store. Forget the 1999 version, it doesn't hold a candle to the original masterpiece.
38 One of the most unusual films ever made!
In all of the history of cinema there has never been a movie quite like this one. Followed by four other Universal "mummy" movies (not counting ABBOTT & COSTELLO MEET THE MUMMY) that bear little resemblance to the original, this film stands out as an excellent example of early sound horror. But it is much more than that.
The story of a 3,200 year old Egyptian who is looking for the reincarnation of the true love of his life, it combines an incredible love story with enough goose bumps to frighten a ghost. It's power to scare is extremely subtle. But this is a character that is brought back to life against his will. He is forced to exist in a time other than his own. As the story unfolds the audience understands that the character's only choice while he is there is to search for his long lost mate. Because of that, the tale is both scary and sad.
The hypnotic appeal of the title character and story is due almost entirely to it's star. Anyone thinking that Boris Karloff could not have played Dracula need only watch this movie. The way the versatile actor uses his eyes and voice to seduce the beautiful Zita Johann (as his romantic interest) is not unlike the technique employed by many of the actors who have played the Count. Even the documentary on the DVD makes many comparisons between the two characters. And, as usual, Boris manages to inject many other dimensions into his characterization. There are not many images in cinema that are as powerful as that last glimpse of Karloff as he is about to be completely wrapped in the bandages that will seal his doom. The reawakening of Im-Ho-Tep at the beginning of the film is created without one note of music in the backround. You are riveted to the screen as you watch the character's eyes slowly open. A nail biting sequence if ever there was one. But nowhere is Mr. Karloff's performance more effective than in the flashback sequence. With his expressive eyes and face he makes you feel sympathy for his character as his beloved passes away. You get the feeling that Im-Ho-Tep will never be the same again.
Backed by a solid supporting cast headed by the beautiful Zita Johann as Helen Grovesnor, Karloff is in good company. Miss Johann and Boris' scenes are beautifully handled. And with Karloff's powerful but subdued acting, it's easy to see how she could be so completely and totally charmed. Edward Van Sloan does yeoman service in yet another older and wiser character who always seems to be giving out advise to the younger hero, in this film played by David Manners. Manners cuts a very appealing figure (as he did in DRACULA) as the hopeful but confused romantic lead. But the best supporting performance in the film belongs to Bramwell Fletcher. After having defied the curse by opening the casket containing the dreaded Scroll of Thoth, Boris reawakens after a long sleep to drive Fletcher's character completely insane. The disturbed laughter followed by the camera's pan to the exit as the trail of Karloff's bandages disappear through the door will be etched in your memory for a long time.
Cinematographer Karl Freund does well in his first credited job of director. Obviously his work in Germany with famous directors such as Fritz Lang (METROPOLIS, M), helped him to create an atmosphere that is most unusual indeed. There are frightening moments in this film to be sure, but they are no more effective than the moments of romance and adoration conveyed by Karloff and Zohann. Miss Zohann's performance is all the more astounding considering the fact that she didn't get along with Freund. The documentary and commentary paint a colorful picture of the nearly sadistic treatment Freund gave to his leading lady. It makes one understand a little better why Zohann didn't do many other films.
MCA has done a great job restoring yet another Universal classic for Digital Video Disc distribution. The film looks brand new. The images practically jump out of the screen at the viewer. The usual documentary, commentary and photo collection are welcome additions. The commentary is particularly interesting, but the typical (for these films) dry delivery once again mar the proceedings.
But, as in the other four classic Universal "monster" movies, it's the film itself that is the meat of the package. And THE MUMMY is one of the best of it's kind, regardless of how uncommon that kind may be. Thanks largely to Boris Karloff's performance and this DVD restoration of it the film will hopefully live on another 3,200 years! Or at least one can hope!
39 Karloff in a Romantic (!) Role -- As Moving as He is Creepy
This is one of the most lyrical horror films ever made in this country, and much of its strength comes from the two romantic leads: Zita Johann, the smartest, sexiest and wittiest of all female leads in the great '30s horror pictures, and -- no, not poor David Manners, who's totally outclassed here -- but Boris Karloff, who proves that his beautiful, restrained voice and haunting eyes can convey love as eloquently as menace. Both performers have a powerful presence: they create a real electricity at their first glance and never allow it to dissipate. Karl Freund has wrapped this story in layers of dreamlike images, very appropriate for a tale about memories. In fact, perhaps the only images we see with razor-sharp clarity are those chilling closeups of Karloff's desiccated face. A masterpiece.
40 Older the Better
The Older the Mummy the better and for sure the older the film the better also.
There was always something evocative about watching that Prop plane fly around the planet at the opening of 1930,s Universal Films.
A Superb cast that has already been mentioned and of course Directed by the master ..himself Karl Freund.
This film has it all and 3700 years of atmosphere
41 The Original Universal Horror Film, Still Packs a Punch
My favorite film of all time is the 1999 version of "The Mummy," and sinse long before that came out, I've known of Boris Karloff's 1932 creature feature. But, I always figured it was another one of those bandage wrapped, slow moving - and frankly very stupid "mummy" movies. So I stayed away. Then, I saw the new version on the first day of release (May 7th) and rushed out of the theater knowing I must see the old version. Instead of renting it, I just bought it - and it was superb! The basic story elements are the same in both versions, but instead of the lavish desert settings, huge sets and breathtaking visual effects of the Stephen Sommers version, director Karl Fruend's 30's film relies on mood and atmousphere to chill you to the bone - which it does very well. Boris Karloff plays Imhotep, whom in his native Egypt (3,700 years ago) was buried alive for trying to raise his love Anck-Su-Namun (Zita Johann) from the dead. Flash forward to 1932 were a british team of archeologists dig up his remains and accidentaly revive him. Cleaning himself up, Imhotep prowls around modern Cairo under the alias Ardath Bey, trying to find the reincarnated soul of his past lover. He does so in Helen Grovesenor (also Johann), but his plans might be in trouble as Helen's gurdian Muller (Edward Van Sloan) and her boyfriend Frank Whemple (David Manners, both from Universal's earlier horror film "Dracula") will stop at nothing to save her. As for power, Boris Karloff is a far cry from Arnold Vosloo's running, fighting Imhotep in the '99 version - but is pretty good with some supernatural Darth Vader like telepethy. This is surley one of the most romantic horror films, as one in some way or another feels sorry for Imhotep, as he looks longingly into the eyes of his mummified girlfriend, but the film does manage to generate a few good scares, because Imhotep is no softey, when you look in HIS eyes you'll see death and destruction. And so while the 1999 "Mummy" is my favorite film, the 1932 version proves that in Hollywood's golden age, filmmaker's really knew what they were doing.
42 An absolute classic ! ! !
I've lost count how many times I've seen this movie over the years; I have the VHS, Laserdisc and DVD versions with the DVD being the absolute best. I made the mistake of seeing the 1999 "Mummy." Awful. Supposedly, the writer/director was inspired by the Karloff film but it didn't help his final, dreadful film version. And he's planning a sequel! Argh...
43 Karloff is excellent!
I first saw this classic as a kid. After watching the new enhanced VHS version, I know why I loved this movie. Karloff's staring eyes are something you never forget - chilling! This was perhaps Universal's best film of the 1930's. The cast excellent, acting superb, and the sets spooky. If your a fan of old horror films, buy this video, pop some popcorn, turn off the lights, and enjoy! The scene where the Mummy comes to life chills to this day! The 1999 version can't touch it, even with the FX!
44 A hybrid that didn't quite work
There were some scary and funny elements in this film, but there were not enough of either of them to highly recommend the movie. Brendan Fraser's performance annoyed me, probably because I had just watched "Gods And Monsters" a couple of days earlier. He had to act in that one. That wasn't a requirement for this film.
45 Mummy Mia!
I've WATCHED this classic dozens of times ... but I had never really SEEN it before I bought the DVD version. What an incredible transfer! The picture is razor-sharp with absolutely gorgeous contrast, and the sound is clear and crisp. I discovered subtle nuances in the performances of Karloff, Zita Johann, and David Manners that I had never noticed before, and which improved my enjoyment enormously. The DVD's extras are icing on an already perfect cake ... a much larger still gallery than was offered on the laser disc release, an enjoyable "making of" documentary, carefully researched filmographies, and more! This is a superb presentation of a classic horror film, and an example of DVD at its best.
46 Karloff King of Horror
Unlike the recent one (crap)without the added one hour of stupid special f/x's, this film scares the blood out of you. The new could not make me stop laughing at it. Karloff deserves an life time acheavement award for scaring people.
47 THE MOST ROMANTIC OF ALL HORROR FILMS
Seeing "The Mummy" on DVD is like experiencing it for the first time. The crisp black and white photography has never looked better than it does on DVD. The highly stylish sets and camerawork are well served, and the film(good even when seen in second rate television prints)has more power to captivate than ever before. Karl Fruend, who was a great figure in the silent era of German expressionist cinema, directs this film almost as if it were a silent film, with stark visuals telling the story and dialogue used only to move the narrative forward. Karloff IS uncanny in this film. The sadness in his eyes reveals the pain he has felt in hisquest for his long lost princess, captivatingly played by Zita Johann. So romantic that you almost wish Im-Ho-Tep will suceed in his admittedly diabolical plan. The extras on the DVD are grand, though I wish a theatrical trailer would have been included. Despite that very minor shortcoming, this new edition of "The Mummy" will not be supplanted for a long time to come.
48 Excellent!
This movie is excellent! It's not really scary but Boris Karloff's face is enough to creep anybody out. The story is very simple. Karloff plays the mummy Imhotep, who reawakens after a man reads a scroll in his tomb. He then sets his sights on Helen, who is the reincarnation of his former lover. He kills anyone who gets in the way of him seeing her. Rent this along with Dracula and Frankenstein for a night of black and white!
49 KARLOFF AT HIS BEST!!!!!!!!!!!!!!!!!!
This is the classic chiller! Before the amazing visual effects of the 90's, Jack Pierce created the suttle but chilling make-up for Boris Karloff, way beyond his performance in FRANKENSTEIN, and THE BLACK CAT. Universal's most chilling character! The sequel's could have used Karloff.
50 Re-mastered Version Better Than Ever
This is a newly re-mastered video, with the original movie poster artwork on the sleeve (timed to the release of the 1999 "The Mummy.").
51 Dream-like triumph!
This ravishing, black and white, work of art from Hollywood of the early 30s grows more powerful with the passage of time. The whole impact is like watching a strange dream, helped by glorious photography, lighting, minamilist musical score and the knock-out performances by Lugosi and Zita Johann. Zita remembered hating director Karl Freund so passionately that she blacked out in one scene. Bramwell Fletcher knocks you out with the greatest mental breakdown ever filmed (with the exception of Ida Lupino going crazy on the witness stand in l941's They Drive By Night). This movie will haunt you forever. Dig the timeless fashions worn by Zita, especially in the black and white outfit she wears when dragging her big, white dog with her to visit the terrifying Ardeth Bey (Lugosi, who is actually the living corpse of her former lover thousands of years before in ancient Eygpt.)Great work by all. I don't know what Karl Freund did to Zita but he sure did get results.
52 A Terrific Classic!
Stylish, classic horror film with Karloff as resurrected high priest of ancient Egypt who seeks to reincarnate the mummy of his beloved princess from the body of young Zita Johann. Moody direction by cinematographer Karl Freund, brilliant performance from Karloff, plenty of creepy scenes that would give you the chills, and excellent makeup by the legendary Jack Pierce. A film that should be viewed over and over again.
53 A Terrific Classic!
Stylish, classic horror film with Karloff as resurrected high priest of ancient Egypt who seeks to reincarnate the mummy of his beloved princess from the body of young Zita Johann. Moody direction by cinematographer Karl Freund, brilliant performance from Karloff, plenty of creepy scenes that would give you the chills, and excellent makeup by the legendary Jack Pierce. A film that should be viewed over and over again.
54 Creepy classic
A favorite of author Gore Vidal (see his book, "Screening History" for details), "The Mummy" remains one of the most imaginatively creepy classics from the golden age of horror. Karloff is superb in what is perhaps his best role, and Zita Johann is more than beautiful enough to justify Im-Ho-Tep's centuries long obsession with her. The makeup by the great Jack Pierce has never been equalled, and the atmosphere is simply chilling. Far superior to any sequels or remakes.
55 Watch it!
The greatest horror film of its era, hands down, and it puts today's slasher films to shame with its intelligence and atmosphere. Karloff is as wonderful as he was in "Frankenstein," but in a radically different role. Don't miss it!
56 Best Boris Karloff movie...period.
As with all the 1930's horror films this one is very atmospheric and even without the special effects of today Karloff in the dual role of Imhotep/Ardeth Bey is masterful. Zita Johann is also quite good as his many times reincarnated love interest Helen Grosvenor. With reference to the classic horror films of the 1930's in my books this one is tied for the #1 spot with the 1931 Dracula. This movie far better showcases the talents of Karloff than Frankenstein.
57 I think Karloff makes a pretty good performance as Imhotep.
This was not one of the best Universal monster flims I have seen. Boris Karloff's mummy is unlike the mummy that we know. The Mummy was one of the earliest Universal classic monster films ever made. It is an interesting film, but you have to watch this film a few times so you could totally understand it. However, Karloff is my favorite actor. I always like to see him star as the Frankenstein monster.
