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Ajouter une intrigue dans votre langueAn archaeological expedition brings back to London the coffin of an Egyptian queen known for her magical powers. Her spirit returns in the form of a young girl and strange things start to ha... Tout lireAn archaeological expedition brings back to London the coffin of an Egyptian queen known for her magical powers. Her spirit returns in the form of a young girl and strange things start to happen.An archaeological expedition brings back to London the coffin of an Egyptian queen known for her magical powers. Her spirit returns in the form of a young girl and strange things start to happen.
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Blood from the Mummy's Tomb is the 4th and final movie from Hammer Horrors "The Mummy" franchise and stands out from the rest due to the distinct lack of erm....a mummy!
The plot is a bit of a mess but the creators do a competent enough job of making the best of it and to their credit it comes off passable.
Starring the alarmingly beautiful Valerie Leon it barely feels like a mummy movie at all.
With the questionable storyline, the baffling ending and some seriously hokey performances it's sad to see a franchise end on such a note.
It however is not bad, it's just unusual, unexpected and an odd choice.
Passable Hammer Horror effort, but more of a standalone film than the rest of The Mummy franchise.
The Good:
Valerie Leon
The Bad:
Muddled story
Things I Learnt From This Movie:
I get the impression Valerie Leon would be a big big star right now if she were this age
The plot is a bit of a mess but the creators do a competent enough job of making the best of it and to their credit it comes off passable.
Starring the alarmingly beautiful Valerie Leon it barely feels like a mummy movie at all.
With the questionable storyline, the baffling ending and some seriously hokey performances it's sad to see a franchise end on such a note.
It however is not bad, it's just unusual, unexpected and an odd choice.
Passable Hammer Horror effort, but more of a standalone film than the rest of The Mummy franchise.
The Good:
Valerie Leon
The Bad:
Muddled story
Things I Learnt From This Movie:
I get the impression Valerie Leon would be a big big star right now if she were this age
It never crossed my mind that archeology could get so sexy. The findings usually tend to have a much drier and dustier appearance. Valerie Leon has really showed new aspects to Egyptology here. In her double role as remarkably well ministered mummy of Queen Tera and Margharet Fuchs she is widely let use the two most expressive features of her physique and to steal the scenes totally without really doing anything. Her lovely eyes.
After countless variations of Count Dracula it was nice to see Hammer studios make good use of another story from Bram Stoker for a change. Mind you, the original novel 'Jewel of the Seven Stars', which this film is based on, does seem to use many of the same kind of story elements; a living dead with a curse and otherworldly powers, bringing the evil to London to be unleashed, a lunatic asylum patient closely connected to proceedings, a beauty with meaningful nightmares and so on. But it doesn't really matter, nobody here gets bitten too badly, anyway.
The film is occasionally rather slow moving and maybe a little too carelessly scripted, but it looks fantastic with the sets and props of Egyptian theme. And the loose hand of the mummy saying hi here and there brings joy every time. For the general mood the whole film seems to have a certain peculiar halo with heavily bright lighting, specially those scenes taking place towards the end. The shine of the curse coming true perhaps. Or good natured fun of silliness.
After countless variations of Count Dracula it was nice to see Hammer studios make good use of another story from Bram Stoker for a change. Mind you, the original novel 'Jewel of the Seven Stars', which this film is based on, does seem to use many of the same kind of story elements; a living dead with a curse and otherworldly powers, bringing the evil to London to be unleashed, a lunatic asylum patient closely connected to proceedings, a beauty with meaningful nightmares and so on. But it doesn't really matter, nobody here gets bitten too badly, anyway.
The film is occasionally rather slow moving and maybe a little too carelessly scripted, but it looks fantastic with the sets and props of Egyptian theme. And the loose hand of the mummy saying hi here and there brings joy every time. For the general mood the whole film seems to have a certain peculiar halo with heavily bright lighting, specially those scenes taking place towards the end. The shine of the curse coming true perhaps. Or good natured fun of silliness.
This difficult-to-find gem (my copy is a bootleg--sorry about that) sorts oddly with the kind of trash Hammer studios was churning out in the early 70s--Lust for a Vampire and that sort of thing. The production seemed to be under a curse of its own--Peter Cushing was involved for the first two days of shooting but then had to leave due to his wife's death; director Seth Holt had nearly finished the film and then died of a heart attack. The final film, finished by Hammer producer Michael Carreras, was described as barely coherent in magazine reviews of the time, but makes perfect sense to this viewer. It's in the style of Don't Look Now, Rosemary's Baby, or Night of Dark Shadows--a story of the supernatural slowly seeping into a modern day setting, with fine character performances, especially from Andrew Keir, James Villiers and Rosalie Crutchley. Leading lady Valerie Leon was dubbed--not sure by whom, but the voice is effective.
This is an unusual tale for those who like subtly constructed stories with a focus upon character and atmosphere. The occasional schlock element doesn't really detract at all from the sinister thrall of the film's design.
This is an unusual tale for those who like subtly constructed stories with a focus upon character and atmosphere. The occasional schlock element doesn't really detract at all from the sinister thrall of the film's design.
It's been many years since I read Bram Stoker's 1903 novel "The Jewel of Seven Stars," but what I mainly recollect is a feeling of great disappointment; the book is all buildup, with very little in the way of payoff. The 1971 Hammer filmization, renamed "Blood From the Mummy's Tomb," can be accused of the same unfortunate misdemeanor, but still has much to offer. It tells the tale of Tera, an ancient Egyptian sorceress who had been executed back when, had her hand dismembered and her body encased in a tomb. Centuries later, that tomb is discovered by a researcher named Fuchs, whose daughter is the very image of the priestess. It would seem that Tera is about to be finally reincarnated.... Taking place in an indeterminate year (the clothing and furnishings are modern, yet the automobiles are vintage), "Blood From" boasts some mild gross-out FX (that severed hand, and Tera's many throat rippings), an interesting enough story, adequate sets and--typical for a Hammer film--fine acting from its second-tier cast. In her dual role as the "slumbering" Tera and Fuchs' possessed daughter, Margaret, actress Valerie Leon literally stands out in this cast. A stunning-looking woman even today, her, um, mUmmarian protuberances are amply brought to the fore here in any number of negligees and low-cut gowns. As Tera, she is found completely unswathed; I suppose even the ancient Egyptian priests felt that her body was too impressive to be kept under wraps! In any event, Valerie's presence is reason enough to give this film a recommendation. The film's story line presents some unanswered questions (Just how does the Corbeck character plan to control Tera once she "awakens," for instance? And that ambiguous ending is anybody's guess!), but I must say that I enjoyed this film more on a repeat viewing, with lowered expectations. It's a fun latter-day Hammer flick, shown to good advantage on this great-looking Anchor Bay DVD.
Which is what you'll be wondering as Blood From The Mummy's Tomb concludes
with just about all the cast members meeting a grisly end.
Andrew Keir was the leader of an expedition to Egypt where the tomb of an evil sorceress Queen is uncovered and the body looks like it was fresh from the morgue, no wrappings on it at all. She was one beautiful queen with only a hand cut off and buried separately.
At the same time in the United Kingdom Keir's wife dies in childbirth and it turns out he gives birth to a bouncing baby sorceress though that's not known at the time.
When I say bouncing I mean that literally. Valerie Leon has some really ample bosoms which Hammer Studios took every opportunity to show off during the film. It was one way to keep the audience interested. Leon also does well as the sorceress and the modern role.
James Villiers and George Coulouris have good supporting parts. Villiers is our villain who has some cockeyed notion he can control the sorceress and guide her through the modern world. And Coulouris has a fine mad man act as a scientist locked in an asylum driven mad by what he's seen and unleashed.
It's a good horror flick without use of monsters by Hammer, a rare exception for them.
Andrew Keir was the leader of an expedition to Egypt where the tomb of an evil sorceress Queen is uncovered and the body looks like it was fresh from the morgue, no wrappings on it at all. She was one beautiful queen with only a hand cut off and buried separately.
At the same time in the United Kingdom Keir's wife dies in childbirth and it turns out he gives birth to a bouncing baby sorceress though that's not known at the time.
When I say bouncing I mean that literally. Valerie Leon has some really ample bosoms which Hammer Studios took every opportunity to show off during the film. It was one way to keep the audience interested. Leon also does well as the sorceress and the modern role.
James Villiers and George Coulouris have good supporting parts. Villiers is our villain who has some cockeyed notion he can control the sorceress and guide her through the modern world. And Coulouris has a fine mad man act as a scientist locked in an asylum driven mad by what he's seen and unleashed.
It's a good horror flick without use of monsters by Hammer, a rare exception for them.
Le saviez-vous
- AnecdotesDirector Seth Holt died from a heart attack before completing this film. It was finished by Hammer Studios head Michael Carreras.
- GaffesTodd drives off to 'get help.' You see his car racing down the road. Margaret uses her ancient powers to raise a wind that flips the roof of Todd's convertible to vertical. As Todd reaches up to try to lower the roof, you can see grass around the car, and the car is clearly not moving! Next moment the car hits a tree.
- Générique farfeluSunbronze Danny Boy as Tod's Cat
- Autres versionsThe 1971 cinema version was cut and this seems to have become the definitive version for all videos/DVDs since (Region 1 and 2 releases). The cuts were: A shot of a hospital orderly striking an inmate was removed.
- ConnexionsFeatured in Movie Macabre: Blood from the Mummy's Tomb (1982)
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Détails
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- Blood from the Mummy's Tomb
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- Durée
- 1h 34m(94 min)
- Rapport de forme
- 1.85 : 1
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