La momia

With one of Boris Karloff's numerous acting successes and a production done the way that a horror feature should be made, this is a well-crafted classic of the genre. From the first scene, the right atmosphere is established, and the story is told at an implacable pace that slowly builds up the tension and possibilities.

As he does with his characters in so many of his horror features, Karloff makes "The Mummy" a menacing monster, yet one with enough human motivations to keep him from becoming cartoonish. Karloff's approach, as does the movie as a whole, stimulates the imagination rather than the senses, giving this classic version a depth and permanence that cannot be matched by those more recent adaptations that rely on boring "special" effects and contrived "action" sequences instead of a well-told story with solid characters.

Edward Van Sloan, David Manners, and the rest of the supporting cast also help out. The atmosphere and settings are kept relatively simple, but effective. Naturally, the story is far-fetched, but it has a consistency that makes it relatively easy to suspend disbelief. The picture fits together well, and it remains a solid entry in the list of classic horror films.

Everyone is familiar with the story of the Mummy. He wants to revive his long lost love. Not nearly as graphic as the modern version, we can enjoy the story with the always interesting Boris Karloff.

The mummy appears only briefly, and Karloff assumes the character Ardath Bey. But , we know he is Imhotep. His goal is to get Helen Grosvenor (Zita Johann), who he believes is the reincarnation of Anck-es-en-Amon.

Now, one may yearn for the beauty of Rachel Weisz in skimpy Egyptian outfits, but this classic is superior overall because of the skill of the actors.

This is probably not the last version we shall see.

Karl Freund, who photographed some of the most memorable silent films made both in this country and Germany, turned director only twice in his career. He directed Peter Lorre in MAD LOVE (1935) and Boris Karloff in this film I am about to discuss. Following FRANKENSTEIN and THE OLD DARK HOUSE the public knew it liked Boris Karloff but he had been silent in his two biggest roles. When this movie was released they flocked to the cinema to hear him speak (evidently they had missed THE MIRACLE MAN, NIGHT WORLD, BUSINESS AND PLEASURE and the other minor roles he appeared in while FRANKENSTEIN was becoming a hit). His voice was no disappointment and neither was his performance in this picture. Director Freund handles many important scenes as if he were directing a silent film . . .and it WORKS! The scene of Im-Ho-Tep returning to life is masterful, as is the flashback sequence where he shows his reincarnated princess just what became of him. David Manners is a far more practical hero in this film than he was in DRACULA (and he is not hampered by having to wear those ridiculous knickerbockers) and Edward van Sloan is fabulous yet again. Watch for Noble Johnson showing off his muscular frame as the Nubian servant. Jack Pierce's makeup is nothing short of fantastic; what he did with gum cotton and collodion was truly masterful. The photography is very well done also. One scene where the camera flashpans away from Im-Ho-Tep and over the rooftops of Cairo coming to rest on Helen Grosvenor is truly Germanic. A similar scene appears in FAUST (1926), and also in SVENGALI (1931). Red Rock Canyon substitutes for ancient Egypt but we always believe we are seeing just what we are supposed to be seeing. This is a very subtle film, and all the more scary because if its subtlety. Now shall we discuss MAD LOVE?

Another film that puts the basic storyline of Dracula to better use. This time, it's the undead Egyptian priest, I'm-ho-tep (Boris Karloff), who puts the beautiful Helen under his spell. David Manners and Edward Van Sloan both reprise their Dracula roles as the young hero, and the wise old mentor respectively. Van Sloan, who is the only actor to appear in Frankenstein, Dracula and The Mummy, gives his best performance here. Karloff is also quite good as the evil villain, I'm-ho-tep. This remains the only mummy movie that can really be called a suspense film or thriller rather than a monster movie. It's not quite as good as Frankenstein, but it's still one of the better classic horror flicks.

I love these Universal horror movies. This one is all atmosphere. The lighting, the focus on Karloff's eyes and his threatening persona carry the film. When I was in elementary school (my kids would say not long after this film was made), I had another kid scare the daylights out of me by describing the internment of the Egyptian rulers. The taking of the body, perfuming it, placing it in a room full of gold, then killing the slaves so that only the priests would know the actual resting place of the body. There was also the bit about being wrapped alive for burial. I'll tell you.

The effect of that story, which is portrayed in the movie, put a bigger scare into me than any movie I've ever seen. Since this one was really the only one we would ever see on television, I watched it every time I could. Isn't it interesting that both the Lugosi "Dracula" use a quotation from "Swan Lake" as a theme song. I've always wondered why that is. It is certainly eerie and as the credits roll, it builds in intensity. I was told once that Tchaikovsky would probably do movie soundtracks if he were alive today. Pardon my digressions. It is interesting that the mummy (as a fully wrapped personage) really doesn't appear after the beginning sequence--we just know that old Boris is in the process of decay and will eventually be sent to his eternal reward. As usual, the scientists and those who should know, carelessly leave the young woman unattended and he makes his move. The threatening suavity of Karloff is the high point of the movie. I feel the world received such a gift when these films were made. It is a delight, full of frightening images and classic moments.