The Mummy (1959)

“He who robs the graves of Egypt dies!”  3 October 2019

The plot of Hammer’s The Mummy should be familiar to anyone who has seen a mummy movie or two.  It’s 1895 and a group of archeologists find and open the tomb of the Princess Ananka. One of the archeologists goes mad immediately.  After returning home, the other members of the group are killed off one-by-one. Could it be a mummy (in this case Kharis) back from the dead to avenge the desecration of Ananka’s tomb? 

Until last night, I hadn’t seen Hammer’s The Mummy in at least a decade.  In that time, I had completely forgotten just how good it is. Peter Cushing and Christopher Lee are teamed up once again and the result is something special.  Cushing is such a fun actor to watch. He’s perpetual motion. Whether it’s lighting a cigarette or bounding off the wall with spear in hand, his acting style is a sight to behold.  Lee, in a largely non-speaking role, is his equal. Through the rotting bandages, Lee does an amazing job of expressing his feelings with just his eyes. It’s subtle (about the only thing subtle about this mummy) and nicely done. I was equally impressed with George Pastell as the mysterious Egyptian, Mehemet Bey.  He more than holds his own with Cushing and Lee. 

Beyond acting, The Mummy is a very visually appealing film.  Lee’s mummy get-up is quite good – especially the face and head.  Hammer films were notoriously done on the cheap. But other than what I thought was a visible zipper on the back of Lee’s mummy suit in a scene or two, you don’t get much creepier than the mummy in this film.  The sight of Lee stumbling out of the swamp is one of those iconic images that lives with you long after the film has ended. Most of the sets (the Egyptian “desert” set being the most notable exception) are stunning.  They’re bright and colorful – just what you expect from Hammer. Throw in nice lighting effects and solid cinematography and you end up with one very good looking movie.

Finally, I think Terence Fisher’s direction should be mentioned as another component in the success of The Mummy.  Other than the seen-it-all-before Egyptian flashback bits, Fisher’s pacing is a key to my enjoyment of the film. There’s rarely a dull moment.  And the decision to make the mummy more mobile than most previous cinematic mummies helps. Watching Lee’s mummy crash through doors and windows is a frightening sight.  It’s a nice piece of film making.

Weaknesses?  I’ve already mentioned the outdoor Egyptian sets, the flashback, and the zipper – there’s really not much more to complain about. 

8/10