A Múmia

Although frequently reinterpreted, the original 1932 THE MUMMY remains the most intriguing film version of a story inspired by both 1920s archaeological finds and the 1931 Bela Lugosi Dracula: when an over-eager archaeologist 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.

Gary F. Taylor, aka GFT, Amazon Reviewer

This Universal classic (1933)¨The mummy¨ that ahead many follow-ups was finely directed by Karl Freund with Boris Karloff, Edward Van Sloan , David Manners and it results to be the first and classic rendition of the ¨Mummy¨. As a group of archeologists seeking lost tomb of Egyptian kings at an archeological dig , 1921 , examine a sarcophagus from an unmarked grave , then a macabre mummy is revived after thousands of years . An ancient Egyptian mummy is awakened from his centuries-old sleep when a royal tomb is desecrated . Those suffer consequences their acts , to everyone's regret . So Imhotep (Boris Karloff bearing a heavy and masterly made makeup , as we can almost smell the dust and must) , a 4000-year-old who was disgraced and buried alive is now revived . The very deadly mummy takes avenge on some archaeologist and descendants who desecrated the tomb . Then the scary , sinister mummy revenges himself on those who have defiled his tomb and he attempts to get his aim , heroine Helen (Zita Johann) whom the wrapped one believes is the reincarnation of his long-love Anc-kes-en-Amon , his beloved princess . However , the macabre mummy attacks anyways and suddenly stops when meets the reincarnation of ancient sweet heart .

Horror classic based on the novel by John Balderston with effective atmosphere , sense of awe and wonder along with fine performances . Entertaining blend of thrills , chills , drama , terror and visual are most impressive . Remarkable makeup and eerie scenes make it chilling and frightening . Superb atmosphere , flavorful music , make this one of the best terror movies from Universal , using intelligence and interesting dialogue rather than guts and blood to horrify its audience . In spite of its age this all time classic has lost none of its qualities. Boris is terrific as the terrifying mummy and David Manners is good as an obstinate archaeologist , one of the men he frightens , being attacked by the mummy, as well as Zita Johann as the damsel in distress . The Mummy is masterfully incarnated by Boris Karloff , giving one of his best movie portrayals along with Frankenstein . Boris is almost irrecognisable beneath layers of skillful make-up, undergoing 8 hours of top-notch make-up to transform him into the creepy mummy , being layered on his face filament by filament , and actually giving the impression of having been hidden away for centuries . The motion picture excellently photographed by Charles Stumar in tenebrist cinematography plenty of lights and shades , being very well made under the perfect direction of an expert cinematographer : Karl Freund who made too few appearances in the fimmaker's chair . It marked the direction debut of this famed German cameraman and master of expressionist photography . Rating : Better than average , it's high-power entertaining .

Other pictures about Mummy character are the following ones : the main is this one ¨The mummy (1932) ¨ being the initial appearance of the mummy re-awakened after thousands of years and sequels rapidly ran out the ideas as what to do with him once he was on loose , such as : ¨Mummy's hand (1940) by Christy Cabanne with Dick Foran , Wallace Ford and Cecil Kallaway . ¨The mummy's ghost¨ 1944 by Reginald LeBorg with Lon Chaney Jr , John Carradine , Robert Lowery . ¨The mummy's curse¨ 1944 by Leslie Goodwins with Lon Chaney Jr. , Peter Coe . ¨The mummy¨directed by legend from Hammer Productions Terence Fisher with Peter Cushing , Christopher Lee , Felix Aylmer , Eddie Byrne . It's followed by ¨Mummy's shroud¨(1967) also produced by Hammer Films, directed by John Gilling with Andre Morell and Elizabeth Sellars. The Spanish ¨The mummy's revenge¨ 1973 by Carlos Aured with Paul Naschy or Jacinto Molina , Jack Taylor , Helga Line . And modern updating full of computer generator FX as ¨The mummy¨(1999) by Stephen Sommers with Brendan Fraser , Rachel Weisz , John Hanna , Arnold Vosloo and ¨Mummy returns¨ (2001) with similar players and The Rock . And recent ¨The mummy¨ (2017) with Tom Cruise and Sophie Boutella .

What director Karl Freund achieves in this movie is nothing short of staggering, even at a remove of nearly 70 years. If this same story, with this same basic approach, were released today, it would still be great. And especially now, when the box office successes of such movies as The Sixth Sense, What Lies Beneath and The Blair Witch Project demonstrate that audiences are hungry for a return to the classic horror virtues of style, mood and suspense (as opposed to the tired formula of gore, in your face shocks, special effects, and more gore) The Mummy would seem ripe for some kind of revival (too bad the lame Brendan Fraser vehicle has stolen its title - though nothing of its wit, skill, or conviction).

What makes this movie so good is. . . gosh, there are so many things! Start with the creepy and unsettling tone, which the movie establishes right away. The very first scene - where the Mummy is awakened - is one of the greatest ever for pure atmosphere and chills. Look at the way Freund *under* plays it, every step of the way. Instead of piling on a crescendo of "scary" music and using odd or distorted camera angles to dramatize the situation, he has the action play out in total silence and with a resolutely still camera, the tasteful cut-aways (from the mummy in the tomb to the archaeologist sitting not five feet away) being the only frill. The tension which results is unsettlingly powerful - and is made moreso by the fact that the scene refuses to resolve itself in the way which we expect it to. I'll give no more details, but when you watch the film, ask yourself: isn't *this* resolution ten times more creepy and effective than the one we thought we saw coming. Already, five minutes in, it's clear that The Mummy has a far more wicked, sophisticated sense of horror than any of the other big "monsters" of the day (Dracula, Frankenstein, Wolf Man, etc.) - and a good deal more than many that have come after, too.

But of course, all the style in the world ultimately cannot save a weak or hackneyed script. And so it's a great pleasure to report that all of Freund's technical finesse is at the service of a really super cool story. Not content to be merely a spooker, the film is also - nay, one might even say primarily - a tragic love story: one that deals intelligently with such provocative notions as forbidden love, reincarnation, religious desecration, inhuman torture, and a strong sub-theme of the desire to respect the past vs. the need to live for the moment. All of these elements swirl so ingeniously and non-didactically in The Mummy's streamlined storyline, that I'm tempted to proclaim this at once both the most compact, as well as the most ambitious, horror movie script I have ever come across.

Of course, such superlatives can get you in trouble too, so let me add that yes, there are flaws - mainly the ones endemic to all horror movies of the time. The so-called "hero" is once again a young man of no charm or interest whatsoever. Meanwhile, the venerable old "expert" who must explain the ways of the monster to everyone else is already a tired convention at this point - and since the role here is played by Edward Van Sloan (who was Van Helsing in the original "Dracula" and its sequel "Dracula's Daughter", as well as Dr. Waldman in "Frankenstein") there is an even greater than usual sense of perfunctoriness to the undertaking. However, even here the movie displays its strength and uniqueness by toying with our expectations of what these stock characters will be able to do and achieve. Whereas in most other horror films, the romantic lead and the crusty old doctor end up being the white knights who vanquish the monster and save the girl, here they operate on a much less exalted plane - and are thereby made more human in the process.

As for faults, that's pretty much it. The pace is masterful; some have called it slow, but I strongly disagree. The film flows naturally and inevitably, with every scene building upon the one before it. There's nothing extraneous in the way it unfolds - achievement enough when compared to the countless other horror movies of its day. As an added treat, there is a flashback sequence in the middle of the movie that is a mini-masterpiece all by itself: it has all the fury and grandeur of a D.W. Griffith silent, honed and encapsulated down to its bare essence. It tells the tale of the title character's previous life with an economy and precision that could still serve as a model for filmmakers today. And, well, most of all, the movie has. . . Boris Karloff.

I've restricted my discussion of him until the end because his towering greatness is so routinely accepted and understood that it's almost redundant to comment upon it. Also, I wanted to make clear that, though he is the film's chief asset, he is far from its only one. But there's no question that it is his stately, brooding, menacing performance that ultimately pushes this film over into the realm of greatness. The key thing here is this: while the concept of a centuries-old being raised from the dead and out for vengeance is a great *idea*, Karloff's portrayal is what gives it tangible, terrifying REALITY. Observing this man - with his stiff ramrod posture, his measured and stately movements, and his absolutely hypnotic voice - we are truly convinced, on a visceral level, that yes here indeed is the walking dead. That kind of verisimilitude is rare enough in horror movies of any era, and its presence here stands as an absolute revelation. Just as does the entirety of this wonderful, exquisitely made film.

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.

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.