Review of The Mummy (1959) by André D — 23 Nov 2009

One of the lesser effort from Terry Fisher for Hammer Production, The Mummy have nonetheless some interesting things to keep this viewer satisfied (at least, this is not a stinker as would become many Hammer films in the beginning of the 1970s).

For its third film for the fame production house (the first two being awesome and essentials horror Curse of Frankenstein and Horror of Dracula), Fisher graced us yet again with the fantastic presence of icons Peter Cushing (in another top notch interpretation as crippled and heroic John Banning) and Christopher Lee (as the eponymous monster). Fisherâ??s direction is yet again perfect in setting the action, certainly one of his main force. The entrance of the mummy, as Lee is getting out the bog in which he was accidentally thrown, is powerful and reminds me of the entrance of the monster in Curse of Frankenstein (an iconic scene in horror history). Funny as it could sound, the fact that the mummy is covered with earth only enhanced its horrific nature. Like every mummy movie worth its name, we have the story of the mummy (here called Kharis rather than Im-ho-tep) told in flashback. No offence Terry, but I do think that this part was much better in the Karl Freund movie of 1932. Still, Fisher capture rather well the ancient Egypt mood as he take time (and pain) to show all the ritual for the dead. It gives time and space for Lee to shine (a really good actor as he had prove previously as a real menacing and savage Dracula) as he play, in this sequence, a human character and not the mindless living dead he will become.

I just think that Egyptian imagery donâ??t go well with a Hammer ambient movie. While the set design are still gorgeous and worth of a traditional Hammer entry, like every movie of this period with an Egyptian flavour, it hasnâ??t aged well. There is also much less blood, implicit sexuality and madness than in any Hammer films I have seen to these days, which tends to make the movie a little less satisfying. Action donâ??t count: Fisher will prove that he is quite capable of doing an excellent horror with less action and more poetic flavour (Curse of the Werewolf).

Hopefully, the high quality of the acting (perhaps better than in previous entries), the ever-dynamic direction of Terry Fisher and the fantastic eastern-flavour soundtrack save this movie from low-grade ranks in which later Hammer movie will fall. Perhaps Fisher would have made a better film if he had stick to the Universalâ??s idea of a dreamy atmospheric film enhancing the love interest of the Mummy and the heroâ??s damsel in distress. Being mindless and only a slave to human interest here, the Mummy is not a monster as interesting and devilishly fascinating as would be Dr. Frankenstein, Dracula or the Wolfman.