An Egyptian high priest travels to America to reclaim the bodies of ancient Egyptian princess Ananka and her living guardian mummy Kharis. Learning that Ananka^Òs spirit has been ... See full summary »
Reginald Le Borg
Lon Chaney Jr.,
Paula the ape woman (Acquanetta) is alive and well, and running around a creepy old sanitarium run by the kindly Dr. Fletcher (J. Carrol Naish), also reverting to her true gorilla form ... See full summary »
Curious about the effects of an ancient Mayan nerve gas on humans, a scientist exposes his young assistant and turns him into a mindless ghoul that must have human heart substance to live. Written by
Jeremy Lunt <email@example.com>
Evelyn Ankers hoped to do her own singing for the film, but because of the tight production schedule producer Ben Pivar used stock recordings of Lillian Cornell for the scenes in which Ankers' character sings (and the songs are obviously older recordings since their sound quality is inferior to the rest of the soundtrack). See more »
[Ken McClure pursues the ghoul into his bier]
For goodness sake, whatever you do, don't mar the coffin!
See more »
One of the lesser Universal horrors is a still enjoyable if decidedly silly outing. The former is due largely to the typical low-budget atmosphere (from intermittent graveyard raids, for plot purposes, down to the recycled music cues), George Zucco's equally reliable presence as the obligatory mad scientist (with this in mind, the title actually referring to the 'human monster' of the piece has always struck me as kind of desperate) and, to a lesser extent, Robert Armstrong ditto as the fast-talking but ill-fated reporter who cracks the case. The 'monster' (afflicted by sudden 'attacks' which transform him, in a matter of seconds, into a scruffy and wizened zombie) is a student in love with a renowned singer (resident Universal scream queen Evelyn Ankers), predictably also desired by the elderly Professor - deluding himself, a' la the Bela Lugosi of THE RAVEN (1935), that she corresponds this affection - but who has herself fallen for the accompanying pianist (the just-as-ubiquitous Turhan Bey) of her concert tour. Obsessed with the Ancient Egyptian ritual of death-in-life (improbably involving a release of poison gas followed by an impromptu heart transplant!), Zucco first experiments with a monkey but soon turns his attentions to a human specimen for which his naive assistant (a surgical genius no less) fits the bill perfectly (however, no attempt is made to explain how he manages to operate repeatedly on himself since, naturally, it transpires the effect of the revivification is only temporary without being fully conscious of the fact!). As I said, this is standard low-grade fare not quite as good as even the minor classics among Universal's second outburst within the genre, though certainly nowhere near as bad as the worst of the lot - THE CAT CREEPS, SHE-WOLF OF London and THE SPIDER WOMAN STRIKES BACK (all 1946).
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