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The Mummy (1932)
Truth be told, this is probably my favorite Karloff movie of all time. Some people see it as "the lesser man's Dracula," incorporating some of the basic themes of love and love lost, but I think it stands above said movie by a large margin. Unfortunately, it just never struck the same chord with audiences as Dracula did, even though the real world headlines were all about King Tut's tomb at the time.
People may classify this movie as "horror" considering the whole raising of the dead thing, but I see it as drama with monster overtones. The one true scene to convince me of this is Ardeth Bey's trip down memory lane with Helen Grosvenor, which is a tale so steeped in tragedy and love that it tugs on the heart strings. I mean, here is a guy who literally DIED for his love. WILLINGLY. Originally, this was quite an extended scene, with Imhotep and Ankh-es-en-amon meeting periodically throughout the years, but Universal cut the scene down to just the Egyptian parts.
One of my small gripes about the Mummy franchise is that when you think of the character, people automatically think of Lon Chaney's dude in bandages running around after his tea leaves and various women, but what they really don't realize is that the original Mummy was a sophisticated, articulated and intelligent gentleman in the guise of Ardeth Bey; a real gem of a character. Quite a snappy dresser, too. I much prefer this depiction over the lumbering mute people remember the most.
Film historians remember this most for Karl Freund's beautiful camera work, particularly what stands out for me is the close ups of Ardeth's eyes when he first meets Helen (a comparison to Dracula as well, as Freund was the cameraman on that movie, too), and they used Swan Lake as the soundtrack (again, another use from Dracula), but I think what stands out is actress Zita Johann, whom had told the press in later years how hard Freund had worked her, almost borderline cruelty. She didn't have the typical trappings of the Universal Monsters' women in distress; she was truly a child a two worlds, trying to find her way.
And Edward Van Sloan, as the typical good guy supernatural fighter (Van Helsing in Dracula) has a particular flair for the dramatic in his speech, but instead of making one laugh, it actually deepens the mystic heritage of the tale. And another triumph for Jack Pierce's wonderful makeup job.
So, before you go grave robbing with Brendan Frasier, give this one a try.
Truth be told, this is probably my favorite Karloff movie of all time. Some people see it as "the lesser man's Dracula," incorporating some of the basic themes of love and love lost, but I think it stands above said movie by a large margin. Unfortunately, it just never struck the same chord with audiences as Dracula did, even though the real world headlines were all about King Tut's tomb at the time.
People may classify this movie as "horror" considering the whole raising of the dead thing, but I see it as drama with monster overtones. The one true scene to convince me of this is Ardeth Bey's trip down memory lane with Helen Grosvenor, which is a tale so steeped in tragedy and love that it tugs on the heart strings. I mean, here is a guy who literally DIED for his love. WILLINGLY. Originally, this was quite an extended scene, with Imhotep and Ankh-es-en-amon meeting periodically throughout the years, but Universal cut the scene down to just the Egyptian parts.
One of my small gripes about the Mummy franchise is that when you think of the character, people automatically think of Lon Chaney's dude in bandages running around after his tea leaves and various women, but what they really don't realize is that the original Mummy was a sophisticated, articulated and intelligent gentleman in the guise of Ardeth Bey; a real gem of a character. Quite a snappy dresser, too. I much prefer this depiction over the lumbering mute people remember the most.
Film historians remember this most for Karl Freund's beautiful camera work, particularly what stands out for me is the close ups of Ardeth's eyes when he first meets Helen (a comparison to Dracula as well, as Freund was the cameraman on that movie, too), and they used Swan Lake as the soundtrack (again, another use from Dracula), but I think what stands out is actress Zita Johann, whom had told the press in later years how hard Freund had worked her, almost borderline cruelty. She didn't have the typical trappings of the Universal Monsters' women in distress; she was truly a child a two worlds, trying to find her way.
And Edward Van Sloan, as the typical good guy supernatural fighter (Van Helsing in Dracula) has a particular flair for the dramatic in his speech, but instead of making one laugh, it actually deepens the mystic heritage of the tale. And another triumph for Jack Pierce's wonderful makeup job.
So, before you go grave robbing with Brendan Frasier, give this one a try.
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