MY DVD Collection - 09 Feb 2007

(Die Mumie [de])

USA 1932
d: Karl Freund
Universal Pictures Video (Region 1 us)

>> The Cast & Crew [click to show or hide]

Hardly a horror film in that it refuses to go for shock effects, this tale of Im-ho-tep, an ancient Egyptian priest brought back to life by an archaeologist, is a sombre and atmospheric depiction of eternal passion and occult reincarnation. The script throws up a heady mixture of evocative nonsense that bears little relation to the realities of Egyptian religion and history, but the whole thing is transformed by Karloff's restrained performance as the mummy who becomes, in his new life, an Egyptian archaeologist stalking Cairo in search of his beloved, a reincarnated princess; and by Freund's strong visual sense (he had previously been cameraman on Murnau's "The Last Laugh", Lang's "Metropolis", and the original "Dracula"). Not as great as Universal's earlier "Frankenstein", but a fascinating instalment in the studio's series of classic fantasies.
— GA, Time Out Film Guide
•••••
Though THE MUMMY is not an overtly terrifying film (with the exception of the mummy's revival at the beginning), Freund creates an uneasy atmosphere of dread and foreboding. His camera is remarkably mobile, with impressive tracking and crane shots that float through the action, creating an eerie mood. Although made during a time when many films suffered from a lack of music, THE MUMMY has a full score, an effectively muted collection of themes perfectly suited to the carefully paced, mystical feel of the film. Though the technical credits are excellent, it is Karloff who carries the day. Makeup genius Pierce once again molded his magic to the actor, and the combination of linen, fuller's earth, and clay used to create the recently discovered mummy took over eight hours a day to apply. The effect is startling, though Karloff only appears as the mummy briefly. Perhaps more impressive is the more subtle makeup Pierce created for Karloff in his reincarnated state. The mass of delicate wrinkles on Karloff's face and hands, combined with the actor's deliberately gentle, flowing movements, creates a being who looks as if he may fall apart at any moment. It is a tribute to Karloff's immense skill that he can lend dignity and conviction to such a role. The supporting roles are also well-handled, with Johann making an appealingly offbeat heroine and Van Sloan crusading against yet another movie monster. The relationship between Karloff's mummy and Johann, whom he believes to be the reincarnation of his lost love, lends the film conviction and a certain pathos amidst the horror. The re-creation of the days of the pharaohs is also quite effective, and the scene wherein Karloff is wrapped alive, eyes going wider as his mouth is covered, is unforgettable. One of the rare horror films to somehow include a touch of the poetic, this stately yet brilliantly absorbing work still works beautifully today.
— TV MovieGuide
•••••
Produced by Universal and scripted by John Balderston, "The Mummy" is essentially a remake of that team's already then-classic "Dracula" (1931). Once again, the undead, in this film a 3,000-year-old high priest brought to life by the desecration of his grave, may only possess a woman by turning her into an echo of himself. Karl Freund, one of the veterans of German expressionism, had photographed the Bela Lugosi version of Dracula but had obviously been heavily stifled by Tod Browning's stilted direction. Here, with the able assistance of director of cinematography Charles Stumar, Freund is allowed a second chance and he rarely lets his camera remain immobile for long. Never before, and rarely since, has the German silent school been used to better effect in a Hollywood production; not only do the many tracking shots add the kind of visual excitement completely lacking in Dracula, Freund also accomplishes a sense of ethereal romance spanning time and distance. If Freund is the true star of "The Mummy", Boris Karloff remains a close second. With his angular face and physique and that slight lisp, less was often more, and as Imhotep, Karloff never overplays but creates instead a believably brittle 3,000-year-old, whose power lies more in thought than deed. Accolades should also go to Zita Johann, the Broadway actress' only truly memorable screen performance. Reportedly, screenwriter John Balderston had recommended Katharine Hepburn, but wiser heads prevailed and Johann went on to create one of the most memorable ingenues in horror film history. According to film lore, makeup artist Jack Pierce spent hours upon hours wrapping Karloff in his conventional mummy getup but Freund wisely used only close-ups of the actor's face and hands, leaving it up to the viewer's imagination as to what exactly made poor Bramwell Fletcher go mad in perhaps "The Mummy"'s best-remembered scene.
— Hans J. Wollstein, AMG