A couple of comical, out-of-work archaeologists (Dick Foran and Wallace Ford) in Egypt discover evidence of the burial place of the ancient Egyptian princess Ananka. After receiving funding from an eccentric magician (Cecil Kellaway) and his beautiful daughter (Peggy Moran), they set out into the desert only to be terrorized by a sinister high priest (George Zucco) and the living mummy Kharis (Tom Tyler) who are the guardians of Ananka^Òs tomb. Written by
Jeremy Lunt <firstname.lastname@example.org>
For the scenes in which the Mummy was seen in closeup or medium shots, Jack P. Pierce's painstaking makeup technique of gluing strips of cotton on Tom Tyler's face, to create deep wrinkles, was employed. But in long shots, Tyler wears a time-saving (and much more comfortable) rubber mask. See more »
They used Bactrian Camels (two humps) in the film as opposed to Dromedary or Arabian Camels (single hump) that are native to northern Africa. See more »
Hey Steve, can a dame go crazy from being sawed in half too many times?
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Not a sequel to Boris Karloff's THE MUMMY, but the start of an entirely different series of non-related films.
A group of likable treasure seekers search for the tomb of an ancient princess, but they encounter her still-living mummified prince instead, bent on destroying anyone who would dare defile the ancient Egyptian gods. This was the first and best of four Universal films featuring the mummy Kharis. At this stage of the game the formula was still fresh and not at all clichéd or monotonous, so that already places HAND at a distinct advantage over its other sequels and spin-off's.
Tom Tyler makes one very creepy mummy, all arthritic and twisted, with weird eyes that are optically blackened out for full effect in chilling closeups. George Zucco is deliciously cunning as the mad High Priest who keeps the mummy alive and killing via the sacred brew of nine ancient tana leaves. Dick Foran, Wallace Ford, Cecil Kellaway and Peggy Moran are all very pleasant as the awkward explorers who stumble upon Kharis' cursed tomb.
Comic relief is well used but never becomes intrusive, as the action always remains dead serious whenever the mummy takes center stage.
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