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The Mummy (1932) 7.2
A living mummy stalks the beautiful woman he believes is the reincarnation of his lover. Director:Karl Freund |
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Title: The Mummy (1932)
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1 win & 1 nomination.
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Cast
| Complete credited cast: | |||
| Boris Karloff | ... | ||
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Zita Johann | ... | |
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David Manners | ... | |
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Arthur Byron | ... | |
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Edward Van Sloan | ... | |
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Bramwell Fletcher | ... | |
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Noble Johnson | ... | |
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Kathryn Byron | ... |
Frau Muller
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Leonard Mudie | ... | |
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James Crane | ... |
The Pharaoh
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| Henry Victor | ... |
The Saxon Warrior
(scenes deleted)
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Plot Summary
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Plot Synopsis
See All (31) »
Storyline
In 1921 a field expedition in Egypt discovers the mummy of ancient Egyptian prince Im-Ho-Tep, who was condemned and buried alive for sacrilege. Also found in the tomb is the Scroll of Thoth, which can bring the dead back to life. One night a young member of the expedition reads the Scroll out loud, and then goes insane, realizing that he has brought Im-Ho-Tep back to life. Ten years later, disguised as a modern Egyptian, the mummy attempts to reunite with his lost love, an ancient princess who has been reincarnated into a beautiful young woman. Written by Jeremy Lunt <durlinlunt@acadia.net>
Plot Keywords:
mummy | reincarnation | buried alive | killing an animal | universal monsters |Taglines:
It comes to life!Genres:
HorrorParents Guide:
View content advisory »
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See full technical specs »
Details
Country:
USARelease Date:
22 December 1932 (USA) See more »Also Known As:
Cagliostro See more »Box Office
Budget:
$196,000 (estimated)Company Credits
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Technical Specs
Runtime:
Sound Mix:
Mono (Western Electric Noiseless Recording Sound System)Color:
Black and WhiteAspect Ratio:
1.37 : 1
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(uncredited)
Composer unknown
Precedes "Swan Lake" during opening credits
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Did You Know?
Trivia
The discovery of Pharoah Tutankahmen's tomb and the alleged curse it contained inspired Universal to make this film. In fact, when Howard Carter (employed by Lord Carnarvon) discovered the buried treasure in 1922, screenwriter John L. Balderston was present as a reporter for The New York Times. See more »Goofs
It is said a few times in the movie that princess Ankh-es-en-amon was a vestal virgin. Vestal virgins were in fact part of the Roman religion (they were priestesses of the goddess Vesta, hence their name), and had nothing to do with ancient Egyptian religion. See more »Crazy Credits
A good cast is worth repeating... See more »Soundtracks
Misterioso(uncredited)
Composer unknown
Precedes "Swan Lake" during opening credits
See more »
Karl Freund, who photographed some of the most memorable silent films made both in this country and Germany, turned director only twice in his career. He directed Peter Lorre in MAD LOVE (1935) and Boris Karloff in this film I am about to discuss. Following FRANKENSTEIN and THE OLD DARK HOUSE the public knew it liked Boris Karloff but he had been silent in his two biggest roles. When this movie was released they flocked to the cinema to hear him speak (evidently they had missed THE MIRACLE MAN, NIGHT WORLD, BUSINESS AND PLEASURE and the other minor roles he appeared in while FRANKENSTEIN was becoming a hit). His voice was no disappointment and neither was his performance in this picture. Director Freund handles many important scenes as if he were directing a silent film . . .and it WORKS! The scene of Im-Ho-Tep returning to life is masterful, as is the flashback sequence where he shows his reincarnated princess just what became of him. David Manners is a far more practical hero in this film than he was in DRACULA (and he is not hampered by having to wear those ridiculous knickerbockers) and Edward van Sloan is fabulous yet again. Watch for Noble Johnson showing off his muscular frame as the Nubian servant. Jack Pierce's makeup is nothing short of fantastic; what he did with gum cotton and collodion was truly masterful. The photography is very well done also. One scene where the camera flashpans away from Im-Ho-Tep and over the rooftops of Cairo coming to rest on Helen Grosvenor is truly Germanic. A similar scene appears in FAUST (1926), and also in SVENGALI (1931). Red Rock Canyon substitutes for ancient Egypt but we always believe we are seeing just what we are supposed to be seeing. This is a very subtle film, and all the more scary because if its subtlety. Now shall we discuss MAD LOVE?