A Mão da Múmia

The other three Universal Kharis films succeeding were pretty uninspired and uneven, though not without their good parts, however The Mummy's Hand while less than perfect and not exactly great is actually rather decent. Universal are nowhere near at their best here and The Mummy with Boris Karloff also from Universal from eight years earlier is the better film, but of the four Universal Kharis films The Mummy's Hand is easily the best of the four and the only one to come close to a good film.

It does start off rather sluggishly and takes too long to get going, it's all relevant but one does wish that the film got to the point quicker than it did. Two performances didn't come over so good, Wallace Ford's bumbling gets irritating after a while and Eduardo Ciannelli is for my tastes rather stiff. And I do have to agree about some of the comedy, some of it is witty and amusing but too much of it was intrusive and unnecessary so it felt more annoying than funny.

Visually however The Mummy's Hand is a solidly made film, the best-looking of the four Universal Kharis films most certainly, everything's professionally shot, moodily(appropriately) lit and crisply edited, the sets are suitably atmospheric and it's clear what the time and place is meant to be. The score fits well and is haunting, again the best score of the four films, being very stock in the other three. The story while not much new is interesting and doesn't try to do anything too simple or complicated, while it has more than one type of film genre it didn't feel muddled or have the feeling of not-knowing-what-it-was-trying-to-be and once it gets going it is quick moving and is pretty exciting and atmospherically spooky. The direction is decent and while none of the performances are award-worthy the performances are solid enough, George Zucco's excellent(brimming with sinister authority) performance standing out. Cecil Kellaway is very likable and Tom Tyler is surprisingly good as Kharis, he's actually genuinely unnerving(particularly the eyes). Dick Foran is amiable and Peggy Moran brings charm and spunk to her role.

Overall, a decent if not great film and easily the best of the Universal Kharis films. 6.5/10 Bethany Cox

Not a sequel to Boris Karloff's THE MUMMY (1932), but the start of an entirely different series of unrelated films featuring a new mummified prince called Kharis. A group of amateur but likable treasure seekers search for the tomb of an ancient princess, but they encounter the still-living mummy instead, bent on destroying anyone who would dare defile the ancient Egyptian gods.

While not a great Universal horror movie by any means (one critique would be the re-usage of the same exact shot again and again of Kharis shambling about in the wilderness) this was the first and best of four Universal films featuring the mummy Kharis. At this stage of the game the formula was still fresh and not at all clichéd or monotonous, so that already places HAND at a distinct advantage over its other sequels and spin-off's. Tom Tyler makes one very creepy mummy, all arthritic and twisted, with weird eyes that are optically blackened out for full effect in chilling closeups (albeit the same repeated closeup). George Zucco takes top honors as the deliciously mad High Priest who keeps the mummy alive and killing via the sacred brew of nine ancient tana leaves. Dick Foran, Wallace Ford, Cecil Kellaway and the perky Peggy Moran are all very pleasant as the awkward explorers who stumble upon Kharis' cursed tomb. Comic relief is well used throughout, but never becomes intrusive, as the action always remains dead serious whenever the mummy takes center stage.

*** out of ****

Around 1940, Universal began a new series of "B" horror films. Most ran just over an hour and featured the studio's cast of monsters. "The Mummy's Hand" (running 78 minutes) and better than most of the series, brings back the Mummy, who had last appeared in 1932 with Boris Karloff in the title role. This time the role is filled by veteran western performer Tom Tyler who gives a chilling performance as Kharis the mummy.

Dick Foran (also a veteran of ridin' the range) as an out of work archaeologist and Wallace Ford as his partner (and comic relief) set out to finance an expedition to find the lost tomb of an ancient Egyptian princess and all the riches therein. Along for the ride are Cecil Kellaway as the expedition's backer and Peggy Moran as his daughter and Foran's love interest. The venerable George Zucco plays the High Priest and villain of the piece. Eduardo Ciannelli has a nice bit as the old High Priest who hands over his power to Zucco.

The film suffers from its "B" mentality and budget limitations but the mummy sequences are among the best that Universal has ever done. The temple setting is also very impressive. Universal would replace Tyler as the Mummy with Lon Chaney Jr. for three subsequent and inferior sequels.

Still and all, "The Mummy's Hand" ranks as a pretty good "B" horror film.

One of a long long list of remakes of the original The Mummy (1932) and the first of 4 movies within the first Mummy franchise.

Now what struck me immediatly was the fact that the production values and general appearance of the movie are considerably weaker than the original which you wouldn't expect since it was made almost a decade later.

Second though advertised as a horror it most certainly isn't, this is closer to a comedy by far especially since our two leads crack wise from start to finish and much of it is really quite ahead of its time.

Once again we see an expedition go terribly wrong as a mummy rises from the dead and.........you know the rest.

Though it all looks pretty terrible the acting and writing is better than the original and though I'd certainly not say The Mummy's Hand is a good film I can definetly see the appeal.

The Good:

Some great characters

Some great writing and great comedy

Has a real charm

The Bad:

Looks even more dated than the 1932 original

Fall apart in the final act

Things I Learnt From This Movie:

Even our comedic leads were more convincing than Tom Cruise in the 2017 remake

An Egyptian man is told by is father an account of a Priest named Kharis who was in love with a Princess Annanka, and wanted to bring her back from the dead by stealing Tana leaves. There's no indication that she was in love with him. He is caught, and his tongue cut out, and buried alive with Tana leaves. The Egyptian man in the current day made high priest and is given the responsibility of keeping Kharis semi-alive with doses of three liquefied Tana leaves. If the Princess' tomb is going to be violated, then Kharis is to be revived with nine Tana leaves to destroy those responsible.

I found it odd that a man who was going to desecrate Annanka's grave was given the responsibility of guarding it. Perhaps it was poetic justice, and he lacked the ability to want to try to bring her back to life again. Indeed, the mummy of Kharis lacks the ability to do much more than move and carry out orders, and desire Tana leaves almost like a junkie.

Two men from Brooklyn stumble across a vase with a clue as to the whereabouts of Annanka's tomb. They see the opportunity to become rich and famous. They run it by the head of the Egyptian museum, who is the high priest, as it happens. He tries to dissuade them. His dual identity reminded me of Karloff's dual identity as mummy and scholar in The Mummy, to which this is only thematically a sequel.

The Brooklynites manage to get funding from a fellow Brooklynite and stage magician. After some trouble with his daughter, who was led to believe they were frauds, they go to find the tomb. (Oddly, one of her lines seems to have been dubbed in "I'll fix them with my trick revolver," to what purpose I'm not sure.) This of course means that a mummy is going to come to life! The mummy is given creepy jittery all-black eyes which was neat.