Film Road to Halloween: The Mummy (1932)

The road to Halloween is paved with good films. Wherein we countdown to the spirited season with a hundred doses of horror. 8 days to go.

The original 1932 version of The Mummy is a very quaint film compared to its blockbuster remakes. Whether we are talking about the ill-advised Tom Cruise reboot, or even the better remembered, Brendan Frasier 90s blockbuster, both films tried to upgrade the original story by forgoing atmosphere, and mood, and rather doubling down on grandiose CGI action. In fact those only with knowledge of the more current films might be surprised to learn that The Mummy is supposed to be a horror movie.

To be fair, I’m not sure an old black and white movie like The Mummy could conjure up the same scares it may have had in the film’s heyday. It does suffer from some creakiness, and a rather recycled plot. But it makes up for its shortcomings with a visually innovative flare for storytelling, and some very strong performances.

The Mummy was Universal Studios follow up to two of their biggest horror successes Dracula and Frankenstein, which were big shoes to fill at the time. Yet the film was up to the challenge, however unlike its predecessors which were adapted from classic works of literature, The Mummy took its inspiration from the public fascination of Egyptian tombs. Such as King Tut’s which was opened only ten years prior to the film. There was already talk of Egyptian curses associated with the opening of these tombs, so of course Hollywood had to cash in on the fad.

Read more from the Film Road to Halloween: Dracula (1931)

The film begins with an archaeological exhibition which leads to the discovery of the mummified remains of an ancient Egyptian high Priest named Imhotep (Boris Karlof). Although his body is wrapped in the shroud of a Mummy, it is deduced by Dr. Muller (Edward Van Sloan once again playing a wise old professor), that Imhotep was in fact buried alive. Muller heeds the warning that the Mummy is cursed, and they should not disturb it. However, that doesn’t stop a keen young assistant to read from an ancient scroll which brings Imhotep to life. After the scroll awakens him, we get the iconic moment of seeing Karloff in the Mummy bandages but only for a moment till he walks out with the ancient texts.

Fast forward ten years later, and Imothep is now disguised as an Egyptian named Ardath Bay, who has put into motion a devilish scheme to resurrect his former lover, a Princess who he was forbidden to be with. He soon encounters Helen Grosvener (Zita Johann), a half Egyptian woman who Imothep believes to be the reincarnation of his long lost love. He then intends to kill her, which would then bring back the Princess where they could be immortal together.

It’s very clear almost immediately that The Mummy’s story does take direct inspiration from Dracula. Which is understandable considering that film was such a success, why not recycle it. However, The Mummy actually makes an improvement on the story, even making it more sensual. A lot of that has to do with the casting of Zita Johann as Helen, who proves to be not just an everyday damsel in distress. Helen is shown as a rather independent and modern woman, who actually doesn’t even need to be rescued in the end. Although she does have a love interest in the form of David Manners (Who incidentally played a similar role in Dracula).

Read more from the Film Road to Halloween: Frankenstein (1931)

The film was directed by famed German cinematographer Karl Freund, who by coincidence also shot Dracula, and probably picked up a few cues along the way. Freund gives the film a unique style with innovative tracking shots, and a rich atmosphere and texture. It’s very easy to take for granted what he was able to get away with at this time.

At the heart of the piece is Boris Karlof in one of his most iconic roles. It’s odd to have that view of The Mummy wearing the bandages when in fact Karloff is only seen briefly in them. For the rest of the film, he hides his menace with a soft spokeness, which is alluring, but also foreboding. Karloff was a very subtle actor knowing he didn’t have to do much in order to be a strong presence on screen. He always carried his horror monsters with a sense of dignity and pathos, and it’s clear to see that here.

The Mummy proves to be a slight improvement in production design for the Universal horror franchise up to that point, and hinted at far more ambitious films in the near future. It still suffers somewhat in some of its dated performances, but for anyone who wants a deep dive lesson in old Hollywood horror, this is a must see for film buffs.