Mummies

The Mummy

Hammer Studios' greatest nemeses, Peter Cushing and Christopher Lee, once again square off in this reworking of Universal's The Mummy (with elements of The Mummy's Tomb and The Mummy's Ghost thrown in for good measure). Cushing stars as archeologist John Banning, whose dig for a lost tomb results in untold treasures but leaves his father a mumbling madman and marks the rest of the company for death. Lee is Kharis, a former high priest turned gauze-wrapped guardian of the tomb, a veritable Golem sent on a mission of vengeance by Mehemet Bey (George Pastell), a disciple of the ancient Egyptian god Osiris. The scenes at the archeological dig and the flashbacks to the ancient burial are stagebound and cheap looking, but Terence Fisher is back in familiar territory when the action relocates to the misty swamps and Victorian mansions of rural England. The towering, 6-foot-3-inch-tall Lee makes the most terrifying mummy to date. He covers ground in giant strides, smashes his way into rooms with heavy Frankensteinlike swipes of his arm, and takes shotgun blasts with barely a twitch--yet he melts from rage to calm at the sight of Banning's wife, Isobel (Yvonne Furneaux), a dead ringer for his dead Queen. The film is still most famous for it's tongue-removal scene, discreetly hidden from the camera but nevertheless shiver inducing. --Sean Axmaker

Three archaeologists searching for the 4,000-year-old tomb of Princess Ananka among the ruins in Egypt are warned of grave consequences if they violate her tomb. Madness strikes one and as the others return to England with a mummy a series of murders take place as the mummy destroys those who desecrated the secret tomb.

DVD Features:
Full Screen Version
Other:Digital Mono in English and French Trailer on Side A

Abbott and Costello Meet the Mummy

After 15 years of hit movies for Universal Studios, Bud Abbott and Lou Costello left the studio in the twilight of their partnership with the last of their monster comedies. Decked out in desert safari gear, the boys go looking for a job with an Egyptologist and wind up in the middle of a conspiracy concerning the murdered professor, an ancient mummy, and a magical medallion that, true to form, bumbling Costello manages to eat for dinner. Marie Windsor, the boss lady of a gang of treasure hunting crooks, dresses in a harem outfit to vamp for our chubby little hero, and the eternally stiff Richard Deacon hilariously plays the leader of an Egyptian mummy cult like a high school principal decked out for Halloween. Directed by longtime collaborator Charles Lamont, it's a typical Abbott and Costello farce with disappearing corpses, mistaken identities, and wacky word plays ("Take your pick" riffs on "Who's on first" with garden tools). While not as clever or spirited as their original monster mash Abbott and Costello Meet Frankenstein, the vaudeville veterans are still masters of the double take and fast-talk patter, and the picture climaxes with a screwball chase that involves not one, not two, but three mummies skittering through the phoniest looking pyramid this side of community theater. You were expecting realism? The boys appeared together once more on film, in Dance with Me, Henry, and then split up. --Sean Axmaker

Blood From the Mummy's Tomb

The Mummy

You have to hand it to the walking dead. What they lack in speed and agility, they more than make up for in sheer single-minded determination. Im-Ho-Tep is a case in point. He's an ancient Egyptian priest, cursed for his terrible crimes against the gods. A team of British archaeologists digs up his sarcophagus, along with a box inscribed with a warning that opening it will unleash death and destruction. You'll never guess what they do. Once freed, Im-Ho-Tep takes on the appropriately evil alias Ardath Bey and gets to the task of resurrecting his ancient lover--which will, of course, require a living human surrogate. While the premise may sound formulaic, The Mummy in fact turns out to be bracingly weird, relying on atmospheric creepiness rather than on jump-out-and-scare-you effects. Boris Karloff gives a terrific performance as Im-Ho-Tep. He has all the malevolence the film requires, but also manages subtler touches; the expression in his eyes as he is wrapped in preparation for being buried alive is absolutely chilling. Instead of forcing him to do all the tedious shambling around that so many mummies resort to, the filmmakers have wisely given Im-Ho-Tep/Ardath Bey a nearly living appearance once he's cleaned up and has a few psychic powers to boot, making him a potent adversary. Stock up on ace bandages and prepare for a good spooky evening. --Ali Davis

Boris Karloff's legendary performance has become a landmark in the annals of screen history. As the mummy, Im-Ho-Tep, he is accidentally revived after 3,700 years by a team of British archaeologists. It is revealed in a flashback that he was a high priest, embalmed alive for trying to revive the vestal virgin whom he loved, after she had been sacrificed. Alive again, he sets out to find his lost love. Today, over 50 years after The Mummy was first released, this brooding dream-like film remains a masterpiece not only of the genre, but for all time.

The Mummy's Hand/The Mummy's Tomb

The Mummy's Ghost/The Mummy's Curse

The Mummy's Shroud