Review of The Mummy (1959) by Cory T — 11 Oct 2013

Cushing is such a chameleonic actor that he can transform substantially from one role to the next. In the 'Frankenstein' films, he is a haggard, misanthropic egomaniac who will sacrifice others for his gumption.

In Hammer's sensational 'The Mummy', Cushing is the prodigal son of an archaeologist and he is positively youthful and benighted; the polar opposite of his demented doctor. Of course Hammer is reverential to the source material but it also incorporates some intriguing wrinkles into the story such as Lee's statuesque Kharis doesn't masquerades as a modern aristocrat because he is the murderous henchman of Mehemet Bey.

Terence Fisher weans the utmost moodiness from the slow-burn tale with a foggy-bog resurrection. The embalming process is delineated in painstaking detail (from the caravan of organs to the final resting place) during a monologue by Cushing.

With his towering height, Lee should be a germane candidate for the undead prowler but the facial makeup is too inexpressive to display an emotional range. However his piercing eyes are copacetic substitutes for the middling costume by Roy Ashton.

1959's 'The Mummy' can chalked up as another flamboyant, epic retelling from Hammer Studios. The most impressive element of Hammer's output is their economical celerity which practically ensures that they never overstay their welcome.