The Mummy (1932)
by Corinne Rizzo
Boris Karloff, is quite the king of stiff and mechanical movie monsters. I don’t know who’s idea it was to do something like this, but not unlike George Lucas as the model for Wookies everywhere, I think maybe Karloff saw these things in himself. No research on it quite yet because Movie Monster Week must go on and there are no moments to spare. Regardless, Karloff is almost scarier as the Mummy than he is as Frankenstein. Though the two characters are pretty close aesthetically. Almost is the key word.
Running the longest of all the monster flicks I have reviewed this week, The Mummy has the most complex story line of the lot. Set the mid thirties, a crew of British excavators is lead to the tomb of an Egyptian princess by none other than an Egyptian prince, raised from his tomb by the alleviation of a curse that he was punished under back in ancient times. The film begins with an original set of explorers who come across this Mummy and while discovering more about his tomb, end up waking the Mummy from its sleeping state.
The Mummy then adapts into the culture provided by the current team of excavators and remains unnoticed as a native for a time, until he begins to give himself away.
To be completely honest, after watching Frankenstein, The Mummy was a little less exciting and ran a little bit longer than I expected any of these films to run. Maybe it’s the mood I find myself in today, on a rainy and cold day in Akron, but I just wasn’t into it.
I could go on to tell you more about the plot, but it would be in an effortless way that might demean a reader looking for a genuine opinion. I can give my genuine opinion and it is this: The Mummy fits in with the theme of Universal Movie Monsters, because he is in fact a monster, but breaks the sense of community built up between the previously reviewed films. Whereas the rest of the films use reoccurring actors, playing reoccurring roles, creating an occult following of these small tragic towns, The Mummy breaks that mold and almost feels out of place.
The plot of the film is everywhere and there are scenes that seem extraneous and ill fitted. As a viewer I found myself saying “I have no idea what is happening here,” which is common when I find that I am being given more information than I need to stick with a film.
Plus, The Mummy looks just like Frankenstein’s Monster and I found myself wishing to just revisit those movies again. Just like the Monster. Why would they do that? Because Frankenstein was such a hit? Most likely. It makes me uncomfortable when an industry’s motives are so transparent. I think Universal could have worked harder at The Mummy as a character aesthetically and personally.
Grade: C (for a serious lack of imagination and an overwhelming incorporation of details)
Posted on October 16, 2011, in REViEW and tagged 1932, boris karloff, classic horror films, classic movie monsters, Frankenstein, halloween, horror, horror films, karl freund, the invisible man, universal movie monsters. Bookmark the permalink. 1 Comment.