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28 of 29 found the following review helpful:
 One of Hammer's most stylish and effective horror filmsMay 08, 2001
By Lawrance M. Bernabo
After Hammer Studio had such success with their versions of Dracula and Frankenstein, it was inevitable they would tackle another one of the classic monsters of Universal's horror pantheon. By granting Universal the American distribution rights, Hammer was allowed to create their own screen versions of the Mummy movies from the 1930s and '40s (never mind Universal ripped off an Arthur Conan Doyle short story "The ring of Thoth" in the first place). Hammer's 1959 (yes, that's the CORRECT date) film "The Mummy," directed by Terence Fisher, actually ends up being one of the studio's best horror films. Set in 1895, English archaeologists uncover the tomb of the Egyptian princess Ananka (Yvonne Furneaux). When Stephen Banning (Felix Aylmer) enters the tomb, ignoring the warnings of the Egyptian Mehemet (George Pastell), he is driven mad. Of course, he has encounter Kharis (Christopher Lee), the living mummy. Three years later, Stephen warns his son John (Peter Cushing) that the mummy is after them, but the warning is ignored. Mehemet arrives near the asylum and sends the mummy to slay the half-mad Stephen in his padded cell. Following his father's murder, John learns the legend of Kharis and Ananka, the high priest who loved the princess so much he tried to bring him back from death with the Scroll of Life and was entombed as a living mummy for his sacrilege. When Kharis strikes again, John learns the legends are true. But then Mehemet orders the mummy to kill John's wife Isobel, who is the living image of Kharis' beloved Ananka (because she is also played by Furneaux. At this point, the Mummy refuses to obey and we are well on our way to the requisite tragic ending. "The Mummy" is one of the better looking Hammer films, thanks to Bernard Robinson's production designs and Jack Asher's cinematography, the high point of which is the lengthy Egyptian flashback sequence. Peter Cushing plays John Banning the hero with a sense of melancholy attributable to not only his crippled leg but sadness over the tragic consequences of their treasure expedition. George Pastell's Mehemet is one of the most thoughtful and pious villains you will ever find in a horror film. As Kharis, Christopher Lee has another silent role that forces him to communication his longing for Ananka through his eyes and gestures. Lee's mummy is much more muscular and athletic than Karloff's original. No slow shuffling monster here, the scene where Kharis smashes through the sanitarium window to attack Stephen Banning is one of the best action sequences in Hammer's history. It is not surprising Lee suffering physically because of this film. "The Mummy" stands out from other Hammer films not only because the monster is different this time around, but more because it does present the black and white division between Good and Evil we come to expect in Fisher's films. After all, Kharis has suffered for ages in unspeakable torment and kills only to protect Isobel thinking she is Ananka, so there is a degree of pity involved, while we have some feelings of disgust towards the archeologists who are so dismissive of native beliefs. Clearly there is more depth here to the characters than we find in the contemporary block busters where the appeal is pure special effects.
16 of 16 found the following review helpful:
The MummyFeb 08, 2007
By Steven Hellerstedt
"SH"
Okay... bullets don't stop him, bogs don't drown him, and running a spear through him simply causes a handful of desiccated kidney dust to pour out of the exit site and, if those blazing brown eyes are any indication, get madder than he was to begin with. How do you stop Kharis (Christopher Lee), the Mummy, who has traveled from Egypt to the peaceful countryside of England to wreak havoc (aka, kill) the three English archeologists who desecrated the tomb of his beloved, Princess Ananka. Traveling with is his keeper, Mehemet Bey (George Pastell), who conveniently carries along with him, in a mini-mummy casket, a scroll of life which, when read, brings them back from the dead.
Man, what a thankless role Lee was stuck with in this one. His mummy makeup is as stiff as a plaster cast, he doesn't even get to growl, and the only emotion he's allowed to express in this one - save for an extended flashback scene where's he's the high priest preparing the Princess for burial - is through the eyes. Of course, Kharis had a forbidden, meddlesome love for the Princess, which helped accelerate his outraged congregation turning him into Dust-for-Guts, so I guess he had it coming to him. That forbidden love was a good thing for archeologist John Banning (Peter Cushing) though, who had the great good sense to marry Princess Ananka look-alike Isobel (Yvonne Furneaux.) If guns, bogs, and spears won't stop the Mummy (why didn't anyone think about a bucket of creosote and a lit match!? Sigh.) a squealed "Stop!" from Isobel/Ananka seems fairly effective.
THE MUMMY is one of those fun Hammer House films I haven't watched for a generation or so and delight in rediscovering. Cushing it at the top of his form, and Lee makes the most of his limited opportunities to generate sympathy for the monster. The Mummy is one of the hardest of the classic monsters to warm up to. Dracula is heartless but has a cold charm and more than enough style to hold our attention. Frankenstein's Monster is a pathetic creature in battle with his creator. The Wolfman's got that wolfbane curse that was a result of an accident totally beyond his control. The Mummy defies his gods by attempting to resurrect the Princess, and spends most movies trying to reunite with her. To their credit, Hammer's Mummy also has Mehemet Bey, who preys upon the residual guilt of the English for robbing Egypt of her sacred treasures. So this Mummy has a two-track, lost love/revenge theme going. Good fun, THE MUMMY is about as family-safe film as you'll find. There's no nudity, extremely minimal gore, and there's more talk than scare. Interesting talk, too, especially the third act guilt-trip Mehemet Bey tries to lay on Banning. Solid recommendation.
11 of 12 found the following review helpful:
WHY IS THIS CLASSIC NOT YET ON DVD?Jun 20, 2001
THE MUMMY is hands down the greatest film Hammer ever produced, even surpassing HORROR OF DRACULA. The Egyptian sequence with its air of authenticity and dream-like horror, superb acting (especially by Peter Cushing and Lee, who marvelously conveys the stunted feelings of Karis via his eyes), memorable cinematography, intelligent dialogues, (this film has NO CAMP APPEAL! I HATE THE WORD CAMP!) exciting set pieces as the very physical Lee-mummy crashes through doors and strangle his victims, all converge to make a timeless classic. Oh yeah, this is also the best mummy movie ever made. As if there is a real competition. Ha ha.
7 of 7 found the following review helpful:
 Hmmmm, somethings not rightFeb 09, 2002
great film, big hammer fan, but the viewer from france has hit the nail on the head. I looked forward to this dvd and sure enough all seemed to be well, reviews praising the quality of the transfer but there was something nagging me... my memory for films is pretty good and there was something wrong, the image was 'odd' felt somehow compressed in some form. also, colours weren't as vibrant as i remembered them. Now on alot of films i can think of i couldn't care less but this is a hammer, the visuals in a good hammer are one of the primary attractions, composition and colours. It worried me all the way through the movie until it got to the scene i remember most vividly, when cushing confronts the controller of the mummy. I remember the depth of these shots from this scene, i remember the amazing tone of the colours, so as soon as it finished i got out my old, cheap vhs copy and sure enough, the differences were not all in my mind. i don't know the technical terms for this, but seems the guy from france has. great movie, i am a hammer devotee, but i can't help thinking one of the best aspects of their films will not come through if warner brothers continues this method of transfer. Hound of the baskervilles is out soon, a film visually similar to the mummy, i hope they do a better job. hate having to write reviews like this, but someone noticed the poor quality image of the fall of the house of usher as well and as i keep saying, the colours, the tones, the photography are not getting the treatment they deserve if you have the anchor bay edition of the abominable snowman check out the peter cushing extras, there are amazing images from the hound of the baskervilles, cinema quality, be interesting to compare to the forthcoming WB release. Again, sorry if i have put you off this movie, it really is great fun but i can't help feeling a bit disappointed
6 of 6 found the following review helpful:
Ancient Egypt vs 19th Century England!Mar 16, 2002
By Kimi
"AKATune"
In 1959 Hammer Studios tackled one more of the Universal classics and this film blends the very best of all the Universal Mummy films and makes this one of the best Mummy films, ever, in my opinion. The talented team of Peter Cushing and Christopher Lee once again grace the screen with Hammer's take on this legend and what a film! Moving at a much more accelerated pace than earlier versions of this story, this film barely allows the viewer to catch it's breath before we're whisked away to a new and even more exciting scene. Everthing works in this film, the acting, the directing, the sets and the music all come together to offer the viewer a completely enjoyable film that can be watched over and over, again. No longer a lumbering and slow *creature*, this Mummy is able to move quickly and with deadly accuracy, but the eyes of the Mummy are also able to tell of the pain and loss it has withstood. Christopher Lee gives an outstanding performance as The Mummy/Kharis and the final scene in the swamp is absolutely unforgettable. Peter Cushing is always a pleasure to watch in any film and this is a very good film for his talents. The supporting cast of, Yvonne Furneaux, Eddie Byrne, Felix Aylmer, George Pastell and Hammer stalwart, Michael Ripper make this a film not to be missed by any classic horror fan. If all you've seen are the Universal Mummy films from the *Golden Age* of horror or the new Universal Mummy films, then give this film an opportunity to entertain you, chances are, if you've not seen any Hammer films, you'll be seeking more of their titles out!
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