Charlie Chan en Égypte

Warner Oland works on behalf of French Archaeological Society concerning Egyptian antiquities being sold to private collectors and rival museums. Before the case is solved, Chan will uncover and solve a murder and avoid being done in. Mystery is pretty straight forward with fewer misleading clues than most of this series. "Theory like mist on eyeglasses -- obscures facts." Chan still (as usual) does not reveal all until the end although this time with the paucity of suspects it is more likely that you can guess the guilty party. Story relies more on travelog-type shots, similarity to real-life and contemporary film mysteries about mummies and tombs, and basic lectures on how X-rays work and archaeology to keep interest. It works. Pat Paterson (Charles Boyer's real life wife) does a credible job as the damsel in distress and under the influence of cannabis. Stepin Fetchit's role as a bug-eyed dim-witted servant will upset modern viewers and probably served as comic relief to contemporary audiences. Although an unrecognizable Rita Cansino (Rita Hayworth's real last name) is given a credit at the beginning of the film, she hardly has any lines. Not as good as Charlie Chan in London or Paris, but one that dedicated fans will not want to miss. Recommended.

Charlie Chan in Egypt (1935)

*** 1/2 (out of 4)

An archaeologist makes a major discovery when he finds a mummy's tomb but he hasn't much time to celebrate his finding because he's shortly after found dead. The locals believe that it's the curse of opening up the tomb but Charlie Chan (Warner Oland) believes something human was behind the murder.

CHARLIE CHAN IN Egypt is without question the highlight of the series as it contains the perfect mix of mystery and some pretty dark horror elements. It's funny to think that the mummy only appears in a couple scenes here yet you could make a strong argument that this here was much better than Universal's 1932 film as well as any of its sequels that would follow. Of course, this isn't a mummy movie per say because it's a mystery but there's no doubt that the horror elements here are used to perfection and in the end we're left with a very good and highly entertaining gem.

I think the strongest thing going for the film is its atmosphere created by director Louis King. The director had specialized in "B" and "C" movies throughout the silent era but this here was clearly the job of someone with talent who could show it when given the right material. The screenplay itself contains a very good story, some memorable characters and there's no question that it leaves you guessing as to who is doing the killings all the way to the end. Take the screenplay and mix it in with the atmosphere and you've got something quite special. Just take a look at how dark the entire movie is and how the director makes perfect use of the trapped doors and those glowing eyes from the mummy's tomb.

Another major plus are the performances with Oland once again delivering a great one in the role of Chan. By this time he obviously had the role down perfectly but it's worth praising him for not just sleep-walking through the film or phoning in the performance. Pat Paterson, Thomas Beck and James Eagles are all extremely good as well. A young Rita Hayworth adds some sexiness to the picture and Stepin Fetchit is here with his typical scared cat role.

CHARLIE CHAN IN Egypt is one of the better mysteries from the decade but you can also strongly argue that it contains some of the best horror elements as well. It's funny to think that Fox really wasn't all that impressive when it came to their horror films from this decade yet, in a mystery of all things, they deliver something this good.

Warner Oland does it again with a great performance as Chan. This one also has a great setting and creepy atmosphere. It is set at a newly excavated Egyptian tomb with all the trappings. There are some genuinely scary sequences creeping around the tomb at night. A young Rita Hayworth (billed as Rita Cansino) has a small part. The only drawback for me is the stereotyped portrayal by Stephin Fechit. He is hard to understand and very annoying at times. The performances by Mantan Moreland and Willie Best in the much later Monogram Chans serve the same niche as Fechit's "Snowshoes" character, but come off much better and are funny in the same way Lou Costello or Curly Howard are funny. But this does not harm the picture. Another one to see over and over again just for the atmosphere if nothing else.

This has always been one of my favourite Warner Oland Chan's, made even more suitably murky and mysterious by the passage of time and the way it's been handled since it was made.

Charlie's in Egypt to track down the person responsible for leaking valuable ancient artifacts into European collections, finding murder as well. With some fantastic atmospheric sets as backdrop and a great cast he and the ever dependable Thomas Beck act as a team to get to the bottom of the mystery and nab the culprit. Every other post has highlighted the main problem with it: Stepin Fetchit. It's a shame they put him in but it's not a problem to me as I don't watch it for him shuffling and mumbling along but for the main story unfolding around the rest of the cast. His major scenes could easily be cut out or altered to save everyone's black and white blushes today - but where would you stop? Airbrush cigarettes, smoke and alcohol, cgi over carbon non-neutral cars or low efficiency lightbulbs, even change Oland to a white Swede and superimpose a black superhero in goodie Beck's place to engage a more proactive and socially inclusive demographic, erase mention of Egypt to try to disguise the colonial connotations etc? And of course if we went that far also add plenty of mindless graphic sex and violence because that's OK in todays crazy world; the Nazis would have simply burned all the prints of this and everything considered similar and revised the history books.

With all its faults I'm grateful for what we've got – some of the early Chan's are lost forever – at the very least for an insight into the human mental condition as it existed in Hollywood in 1935 but more for as it exists around the world today. If you really don't like it you could campaign for its destruction, but if you like watching pre WW2 b&w middle brow detective movies containing innumerable dead people like this like me watch it without angst as a good film.

Charlie Chan in Egypt isn't my favorite Charlie Chan. For some reason, I'm more used to Sidney Toler in the role, I love Mantan Moreland, and it's always fun when one of Charlie's sons is on the scene.

What this 1935 film does have is an interesting story, footage of Egypt, which even in black and white is pretty impressive, and an appearance by a heavier, brunette, pre-electrolysis Rita Hayworth (using her original name Rita Cansino here). Pat Paterson (Mrs. Charles Boyer) is the lead woman.

Chan is in Egypt on behalf of a French museum to investigate tomb treasures that were to go to the museum but instead are in other European museums. He meets Carol Arnold (Patterson) whose father, on the dig, hasn't been heard from in some time. There's a good reason for that. He's mummified in a sarcophagus that's supposed to hold an ancient priest.

Well, there's another murder and an attempted murder as Charlie attempts to figure out who killed Professor Arnold and why.

Warner Oland is fine as Charlie, though some other performances are a little over the top/melodramatic. Mainly, James Eagles, as Professor Arnold's physically challenged son, sticks out with an absolutely maniacal performance.

I won't bother to go into the controversial Stepin Fetchit's presence in this film. His life story is an interesting one, however, and worth a look. The character he developed, which made him a millionaire, is cringe-worthy by today's standards.

All in all, an okay film.