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>
The large impressive tomb set was originally built for Universal's "Green Hell" and appeared again in other Universal features. See more »
When Marta says, "I'll fix him with my trick revolver," her lips do not move. See more »
You are very beautiful... so beautiful I'm going to make you immortal. Like Kharis, you will live forever. What I can do for you I can do for myself. Neither time nor death can touch us. You and I together for eternity here in the Temple of Karnak. You shall be my high priestess.
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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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