The Mummy (1932) Poster



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The character name "Imhotep" was taken from an actual ancient Egyptian, but the real Imhotep was the architect who designed the pyramids and--far from being executed in disgrace--was the only Egyptian, other than the pharaohs, who was made a god after his death.
Throughout the film's production, there was great tension between Zita Johann and director Karl Freund, who disliked each other immensely. According to Johann, on the first day of filming Freund attempted to portray her to the producers as a temperamental actress who was very hard to work with.
Zita Johann later recalled Karl Freund's nastiness to her: "Karl Freund made life very unpleasant. It was his first picture as a director, and he felt he needed a scapegoat in case he didn't come in on schedule, 23 days, I believe. Well I was cast as the scapegoat--and I saw through it right away! Before shooting started, I asked Freund and his wife over for dinner. He told me for one scene, I would have to appear nude from the waist up. He expected me to say, 'The hell I will!' Instead I said, 'Well, it's all right with me if you can get it past the censors'--knowing very well that the censors of that time were very strict. So, I had him there."
"Ardath Bey" (the name Imhotep assumes after his exhumation) is an anagram of "Death by Ra" (Ra is the Egyptian sun-god).
The film's poster holds the record for the most money paid for a movie poster at auction: more than $453,500.
Boris Karloff's mummy makeup is based on the appearance of Ramses III; makeup artist Jack P. Pierce spent eight hours a day applying Karloff's makeup.
Boris Karloff was virtually unknown when he appeared as the creature in Frankenstein (1931). He created such a sensation that when this was made, only a year later, Universal only had to advertise "KARLOFF . . . 'The Mummy'."
Several scenes meant to depict the various reincarnated lives of Anck-es-en-Amon throughout history were filmed but cut from the final version. The scenes depicted Anck-es-en-Amon in ancient Rome, in the European middle ages, among Viking raiders and in France during the Ancien Régime.
The flashback scenes in ancient Egypt were designed to resemble a silent film, with no dialog, exaggerated make-up and gestures, and a faster camera speed, to suggest the great antiquity of the events portrayed.
The discovery of Pharaoh Tutankahmen's tomb and the alleged curse it contained inspired Universal to make this film. In fact, when Howard Carter (employed by Lord Carnarvon) discovered the buried treasure in 1922, screenwriter John L. Balderston was present as a reporter for The New York Times.
So many layers of cotton were glued to Boris Karloff's face to create the wrinkled visage of Imhotep as a mummy that he was unable to move his facial muscles enough even to speak.
A lengthy and complicated re-incarnation scene, so important to the plot, never made it into the film. This upset many people, including the film's leading actress, Zita Johann, who was a firm believer in re-incarnation.
When Zita Johann declined to have her option picked up by Universal because of the unpleasantness during filming, her billing was demoted from co-star to the top of the supporting players.
Screenwriter John L. Balderston is credited with the Egyptian mummy theme for the film. At its earliest stages the film was simply envisaged as a horror vehicle for Boris Karloff with no connection to Egypt at all. Balderston was a history enthusiast and had covered the opening of Pharaoh Tutankhamen's tomb as a foreign correspondent. His experiences in Egypt and love of ancient history influenced him to change the setting and plot of the film to feature an Egyptian mummy.
Boris Karloff to make-up artist (and designer of the mummy bandage costume) Jack P. Pierce: "Well, you've done a wonderful job, but you forgot to give me a fly!"
Jack P. Pierce's make-up was considered so outstanding that "Hollywood Filmograph" journal honored him with a special award which was presented at a ceremony by Boris Karloff himself. After Pierce's death in 1968 the trophy was believed lost. A decade later when a sink was removed from an old make-up studio at Universal, it was rediscovered.
This is the only Universal monster of the time without a fictional antecedent. Large segments of the movie are scene-by-scene parallels of Dracula (1931). An ankh symbol (the ancient Egyptian glyph for "life") is substituted for the crucifix of the earlier movie. Even Edward Van Sloan's character, Dr. Muller, is quite analogous to his Dr. Van Helsing from the vampire film.
Zita Johann believed in the art of the occult, reincarnation, and the ability to communicate with the dead, many practices of which appear in the film.
The ring Boris Karloff used was in the possession of Forrest J. Ackerman for many decades.
Working titles for the film included "Imhotep" and "King of the Dead".
The mummy is never shown walking onscreen in his burial wrappings, despite the rigorous makeup and wardrobe processes which Boris Karloff endured. Karloff is only shown walking as Ardath Bey and without the iconic wrappings.
Zita Johann had proved a difficult actress for both MGM and RKO when she signed with Universal to do Laughing Boy (1934) from a script by John Huston that she admired. When no suitable actor could be found for the lead, she ironically suggested Humphrey Bogart, although the studio rejected him. Since Johann had already been paid, she owed Universal a picture and agreed to fulfill her obligation with "The Mummy."
(From a tomb inscription) "Death . . . eternal punishment . . . for anyone who opens this casket . . . In the name of Amon-Ra, the King of the gods . . . "
Henry Victor appears in the credits of the film as "Saxon Warrior," yet he never actually appears in the movie. The Saxon Warrior was part of a long flashback sequence showing all the heroine's past lives from ancient Egypt to the present. The sequence was cut from the final film.
Unlike the other Universal classic monsters, the other Mummy movies have no direct relation to this one. The other films feature a different mummy named Kharis who is resurrected by tana leaves to be controlled by a modern person (similar to a voodoo zombie). The Mummy's Hand (1940) reuses footage from this film, but changes Imhotep to Kharis. It was Kharis that would appear in the other Universal films and Hammer remakes. Imhotep wouldn't reappear in theaters until The Mummy (1999).
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Among other indignities, Karl Freund put Zita Johann in an arena with lions while he and the crew were protected inside cages--the scene was eventually cut from the film--and for two days he had her stand against a board so there wouldn't be a crease in her dress.
Director Barry Levinson chose this film as his favorite for "Private Screenings," an AFI-sponsored publication.
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During one notably intense day of shooting, Zita Johann fainted on set. The first person she saw when she came to was Boris Karloff, still in full makeup but out of character.
The movie's poster was #15 on Premiere magazine's "The 25 Best Movie Posters Ever".
Arnold Gray is in studio records/casting call lists in the role of "Knight", but the part was almost certainly a knight in the deleted sequence depicting the reincarnations of Princess Anck-es-en-Amon prior to Helen Grosvenor. Consequently, Gray does not appear in the film as released.
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The script was originally called "Cagliostro", based on the famous French "prophet"/charlatan who claimed that he had lived for several centuries. It was then rewritten to profit from the love of all things Egyptian since the finding of King Tut's tomb, re-titled first "The King of the Dead," then later "Im-Ho-Tep"; it only became "The Mummy" just before general release.
African-American actor Noble Johnson was chosen to play the Nubian who becomes a servant to Imhotep. The idea of the descendant of a supposed ancient black African civilization showing deference to an ancient Egyptian fit well with racial attitudes when the film was made. Nubia is, however, not very far south of the Nile delta, and the people of the Nubian civilization were mostly of the same racial stock as the Egyptians. Moreover, Egypt and Nubia coexisted peacefully for most of their history, and when they did not, Egypt was as often subjugated by Nubia as the other way around.
This was the first assignment in the director's chair for noted German cinematographer Karl Freund. He was given this opportunity only two years after arriving in the US.
When Ardath Bey steals the scroll from the Egyptian Museum, he was supposed to have left powdered skin in the form of a hand-print, as he did when he escaped from his tomb after awakening when the scroll was read. The scene in which the hand-print was discovered was cut from the film, though.
The film takes place in 1921 and 1932.
(From "The Scroll of Toth"): "Oh, Amon-Ra--Oh! God of Gods--Death is but the doorway to a new life. We live today--we shall live again. In many forms we shall return--Oh Mighty One!"
The main theme music to the opening credits is the exact same movement from Swan Lake used to open Dracula one year earlier.
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James Crane as "The Pharaoh" is misspelled as "The Pharoh" in the list of characters.
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Part of the original Shock Theater package of 52 Universal titles released to television in 1957, followed a year later with Son of Shock, which added 20 more features.
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The trivia item below may give away important plot points.

The words Boris Karloff mutters to threaten the rescuers are not nonsense. As he extends his fist, he begins saying "kheb khebet . . . " Loosely translated, they mean "destruction". The full passage they are most likely taken from in "The Book of the Dead" reads "nebt setau, nebt kheb khebet khesef neseni nehem . . . " ("Lady of terrors, mistress of destruction, which repulses destroyers; delivering from destruction . . . ").

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