User reviews

Egyptian Mummies are fascinating creatures - yet I am sure that I'm not standing alone with the opinion that their representation in Horror cinema is a bit weak compared to other Horror creatures. And I don't mean to say that there were too few Mummy films made, but that great Mummy films are quite rare. The only Mummy film that I would really consider an absolute masterpiece is Karl Freund's brilliant "The Mummy" of 1932 starring Boris Karloff. While no other Mummy film has ever come close to the brilliance of the Karloff film, Hammer's 1959 re-telling of the story is easily my second-favorite of all Mummy films I've seen. After the success of "The Curse Of Frankenstein" (1957) and "Horror Of Dracula" (1958), two true Classics which revolutionized British Horror cinema, Hammer's dream-team, Horror-icons Peter Cushing and Christopher Lee, screenwriter Jimmy Sangster and director Terence Fisher reunited for "The Mummy" (aka. "Terror Of The Mummy") in 1959. And while this is not quite as brilliant as the two aforementioned films, in my opinion, "The Mummy" is definitely a great and wonderfully picturesque Horror film that can easily be considered a Hammer Classic.

When British archaeologists, one of them John Banning (Peter Cushing) discover an ancient Egyptian tomb, they open the grave of a priestess who died 4000 years earlier. The desecration of the grave of the priestess unleashes a curse, which awakes the vengeful guard Kharis (Christopher Lee) who had been buried with the priestess... And what could be more entertaining for a lover of Gothic greatness than seeing a vengeful Egyptian Mummy haunt a Hammer-style Victorian England, even more so if this vengeful Mummy is played by none other than the all-mighty Christopher Lee? Lee himself once stated that this was his personal favorite of his Hammer films. It is hard to say why, as the role that initially earned him his status as one of Horror's all-time greatest was certainly that of Dracula; my guess is that he must have gotten tired of the Dracula role after a while. Yet it is more than understandable that Lee was fond of this film. "The Mummy" has a unique elegance in settings and colors, and some of the scenes, which I won't give away, are truly immortal moments of Gothic greatness. The equally great Peter Cushing is, as usual, brilliant in the role of the scientist John Banning. Director Fisher once again delivers the great trade-mark Hammer elements (foggy grounds, eerily luscious colors,...) in a particularly beautiful manner and Franz Reizenstein's score intensifies the gloomy atmosphere. All things considered out of Hammer's three original re-tellings of stories that had already been told in Universal Pictures in the 30s, "The Mummy" is not quite as essential as "Curse Of Frankenstein" and "Horror Of Dracula". It is, however, nonetheless a highly atmospheric, haunting, beautiful and downright great Gothic classic that no Horror fan can afford to miss!

Hammer Film Productions rework some of the classic Universal Studios mummy material to great effect. Directed by Terence Fisher, this is not a remake of the seminal 1932 movie of the same name. Starring Peter Cushing (John Banning), Christopher Lee (Kharis/The Mummy), Raymond Huntley (Joseph Whemple) and Yvonne Furneaux (Isobel Banning/Princess Ananka), the film is written by Jimmy Sangster and was filmed at Bray & Shepperton Studios in England and is photographed in Eastman Color. I mention the latter because Eastman Color has a different hue to it, something that makes this movie all the more affecting as a horror piece.

The plot sees three archaeologists (Stephen & John Banning & Joseph Whemple) desecrate the tomb of Egyptian Princess Ananka. This awakens Kharis, Ananka's blasphemous lover who was buried alive for his unlawful deeds. Taken from the tomb to London by Egyptian priest Mehemet Bey (George Pastell), the three archaeologists find they are being hunted down by the vengeful Kharis. The only salvation may come in the form of Isobel Banning who bears a striking resemblance to Princess Ananka.

This Mummy is adroitly directed by Fisher, his choreography for the action scenes is stunning. Lee's incarnation as the mouldy bandaged one is swifter than most, thus Fisher has him stalking around Victorian England one minute, then the next he's crashing thru doors or windows with brute strength - with murder his (its) only goal. It's a top performance from Lee as he really throws himself into the role, with his dead eyes ominously peering out from gauze swathed sockets sending those little shivers running down the spine. Technically the film belies the budget restrictions that was a staple of Hammer productions. The sets are very impressive with the Egyptian tomb set original and authentic looking, and the swamp based set-up nicely constructed. The latter of which provides two genuine horror classic moments, as first we see the Mummy for the first time as he rises from a foul bubbling bog, and then for the dramatic swampy finale. It's also atmospherically filmed by Fisher, with Jack Asher's photography utilising the Eastman Color to give off a weird elegiac beauty.

This is not about gore, Fisher and the makers wanted to thrive on atmospherics and implication, something they achieve with great rewards. The Mummy would prove to be very successful in Britain and abroad, thus ensuring Hammer would dig up more Mummy's for further screen outings, none of which came close to capturing the look and feel of this first makeover. Crisply put together and with another in the line of great Christopher Lee monster characterisations, this Mummy is essential viewing for the creature feature horror fan. 8/10

In1895, in Egypt, the British archaeologists John Banning (Peter Cushing), his father Stephen Banning (Felix Aylmer) and his uncle Joseph Whemple (Raymond Huntley) discover the tomb of Princess Ananka (Yvonne Furneaux). Stephen finds inside the tomb The Scroll of Life and reads it, awaking The Mummy of Anaka's keeper and former lover Kharis (Christopher Lee). He has a heart attack and goes insane. The Egyptian Mehemet Bey (George Pastell) that worships Ananka steals the scroll and controls The Mummy. Three years later, in England, Stephen is an intern in a mental institution and John has married his fiancée Isobel. However the fanatic Mehemet decides to use The Scroll of Life to revenge those that have desecrated Anaka's tomb. The Mummy attacks Stephen and Joseph; however, when The Mummy attacks John, Isobel that resembles Ananka saves her husband. But will she be saved from The Mummy?

"The Mummy" is another great horror movie by Hammer directed by Terence Fisher. The remake of the 1932 Universal's "The Mummy" is creepier, with the dirty bandages since he has fallen off into the bog. In addition, the beauty of Yvonne Furneaux is impressive as well the lack of chemistry with Peter Cushing. My vote is seven.

Title (Brazil): "A Múmia" ("The Mummy")

Note: On 24 Nov 2018, I saw this film again.

Far superior to the Brendan Fraser version, which relies too heavily on sterile computerized special FX. Comparing it to the classic 1932 Boris Karloff version, as so many people are doing, I feel is unfair. Karloff is not seen much in bandaged form choking people, but instead, in the Ardeth Bay persona. The Hammer Mummy has a lot more in common with the four Mummy movies Universal made in the 40's, (bandaged mummy chokes people out, the high priest out for revenge, etc.), and while those movies are fun, they don't compare to this one. Simply put, Tom Tyler and Lon Chaney, Jr. are not given the chance to pantomime with as much emotion as Christopher Lee, (kind of ironic when you consider the latter's father was the king of pantomime). Through all of the muddy bandages, there are still glimpses of human expression in Lee's eyes.

Beautiful color and well paced, I highly recommend this movie..............

England's Hammer Studios existed primarily as a distributor--until the low budget 1955 THE QUATERMASS EXPERIMENT suddenly put the studio on the map. Sensing an untapped market, Hammer began to develop similar titles and by the early 1960s developed a style that mixed Victorian sets and costumes with bouffant hairstyles, bared breasts, and lots of blood. The films were largely responsible for jolting the horror genre back to life on both sides of the Atlantic, as popular in the United States as they were in England.

Released in 1959, THE MUMMY was among Hammer's earliest color films and helped lay out the visual style that come to dominate "Hammer Horror" for more than a decade. Drawing from Universal's 1932 THE MUMMY and 1940 THE MUMMY'S HAND, it opens with a band of Victorian-era archaeologists in Egypt, where they discover the lost tomb of Princess Ananka--and in the process unleash a mummy cursed to guard her throughout eternity. It is a curse that follows the men back to England, where they are stalked to their deaths one by one.

Director Terence Fisher and cinematographer Jack Asher worked a number of Hammer films, including the earlier HORROR OF Dracula and REVENGE OF FRANKENSTEIN. Although some of the lighting may give you pause--judging from all the backlighting and colored filters it would seem the ancient Egyptians had mood lighting installed in their tombs--their efforts result in a series of truly arresting visuals; in their hands, bright color is no obstacle to moodiness. The cast plays it out extremely well, with the lovely Yvonne Furneaux a classic Hammer beauty, Peter Cushing as her archaeologist husband, and (yes, the posture and bearing really is unmistakable) Christopher Lee under wraps for the title role.

The DVD contains no extras beyond the original trailer, and although the transfer is not pristine it is nonetheless very good indeed. Hammer Horror may not save the world, but it is often a lot of fun--and THE MUMMY is easily among the studio's best. Recommended.

GFT, Amazon Reviewer

Archeologists seeking lost tomb of Egyptian princess when a mummy is revived after thousand of years . An ancient Egyptian mummy is awakened from his centuries-old sleep when a royal tomb is desecrated . The very deadly mummy (Christopher Lee) takes avenge on some archaeologist (Felix Aylmer and his son played by Peter Cushing) who desecrated the tomb of his beloved princess (Ivonne Furneaux in double role ) . They go back to England and those consequences , to everyone's regret . The mummy slipping into English swamps where soon strangling people , meanwhile a Police Inspector(Eddie Byrnes) is investigating the strange deeds . However , the mummy attacks and suddenly stops when believes Furneaux is reincarnation of ancient sweet heart .

Horror Hammer classic with effective atmosphere , sense of awe and wonder along with fine performances . Entertaining blend of thrills , chills , drama and action . Remarkable makeup and eerie scenes make it chilling and frightening . Peter Cushing is terrifying as obstinate archaeologist who is attacked by the mummy incarnated by Christopher Lee holding a heavy makeup. Colorful and atmospheric cinematography by usual Hammer cameraman Jack Asher . The motion picture is well directed by Terence Fisher . Rating : Better than average , it's high-power entertaining . Superb atmosphere , flavorful music , make this one of the best terror movies from Hammer , using intelligence and interesting dialogue rather than guts and blood to horrify its audience . In spite of its age this all time classic has lost none of its qualities. It's followed by ¨Mummy's shroud¨(1967) also produced by Hammer Films, directed by John Gilling with Andre Morell and Elizabeth Sellars.

Other pictures about Mummy character are the following : the Universal classic (1933)¨The mummy¨ by Karl Freund with Boris Karloff and David Manners , that ahead many follow-ups as sequels as ¨¨Mummy's hand (1940) with Dick Foran and Cecil Kallaway . And modern updating full of computer generator FX as ¨The mummy¨(1999) by Stephen Sommers with Brendan Fraser , Rachel Weisz , John Hanna and ¨Mummy returns¨with similar players.

Director Terence Fisher and crew at Hammer Films revives life in the MUMMY. Horrific color and a much livelier and threatening wrapped menace is the modern slant on the 1930's original.

Boris Karloff was almost mystic in the title role decades ago. Stealing some of his thunder is Christopher Lee. Lee is down right wicked and relentless. And in his own way, just as scary as Karloff.

Peter Cushing brings a double whammy to this movie. More shakes and shivers. Also in the cast are Yvonne Furneaux, George Pastell, Raymond Huntley, David Browning and Michael Ripper.

What a way to spend a rainy night. Curl up with this and the original. Yikes!

This remake of the remake is a Hammer Horror affair and the beginning of their own "The Mummy" franchise.

Starring horror legends Peter Cushing and Christopher Lee it brings The Mummy tale into bold colour and it does the story many favours.

Essentially it tells exactly the same story as the 1932 original but blends several moments from the 1940 and beyond remake franchise including a tweek on the part three very dark finale.

With strong performances, a highly improved mummy and the usual Hammer Horror charm this is the best "The Mummy" film since the 1932 original.

This has now wet my appetite for the other 3 movies.

The Good:

Couple of well made scenes

The mummy looks great

The Bad:

Very sudden ending

A few of the negative Hammer Horror tropes

Things I Learnt From This Movie:

Mans best friend is a horse

Drink driving wasn't a thing when it came to horse and carts

Fez's are still a sign of evil

The Mummy is the Rodney Dangerfield of classic monsters -- he gets no respect. But Hammer's sumptuous, beautifully filmed and acted treatment is as good as your going to find. It is also the most detailed mummy film around, with the recreation of its Egyptian tomb gorgeous and authentic. Christopher Lee is little short of brilliant in the thankless title role, actually managing to giving a compelling and at times touching performance through only his eyes and body language. Peter Cushing is superb as always (and was it a deliberate decision to make his character's lameness a wry twist on the fact that Kharis the mummy was always lame in the old Universal movies?), as is Hammer semi-regular George Pastell in the stereotypical mummy-controller-in-the-fez part. The supporting cast is also classier than usual for Hammer: Sir Felix Aylmer as Cushing's father is wonderful, aging amazingly convincingly and establishing himself as one of the great gibberers of the cinema; while Raymond Huntley is solid as Cushing's sensible uncle (and as London's first stage Dracula, one wonders what conversations he must have had on the set with Lee). Hammer regular Michael Ripper also has one of his best parts as a sodden eyewitness to the mummy's activities. Director Terrence Fisher (another Rodney Dangerfield) contributes many memorable touches, though probably none so effective as the agonizing sloooooooowwwwness with which the stone door of the secret chamber concealing the cursed Kharis closes, which emphasizes the horrific agony of living burial. Everything in this film works, and some elements, such as the photography and the excellent music score, exceed even Hammer's usually high standards. "The Mummy" might be the British studio's best film. It is certainly one of their best.

THE MUMMY (1959). An awful lotta people seem to think this was a remake of THE MUMMY (1932), but it's not! It's more like a combined remake of THE MUMMY'S HAND, THE MUMMY'S TOMB and THE MUMMY'S GHOST, all in one! Instead of a Dracula-like guy who comes back from the dead seeking the reincarnation of his lost love, it's more the religious fanatic controlling an indestructible killer to avenge the desecration of the tomb. Watching the Universal Kharis movies, it hit me they were probably the real inspiration for Michael Myers-- the guy never talks, and you can't stop him!

Peter Cushing is great as always, and Christopher Lee gets a lot of dialogue-- in the flashback scene-- then, later, despite the heavy make-up, you can really see his face & expressions in head-on shots, and lots of emotion & sadness when he noticed that Cushing's wife is the exact image of his lost love (but no hint of actual reincarnation here). So cool when the guy bursts thru glass doors and gets shot or run thru and it doesn't even slow him down. I also got a charge when Cushing deliberately defied the advice of the detective and visited "the Egyptian"-- and after a bit of friendly chat, started deliberately provoking him by saying those who believed in this ancient religion weren't of very high intelligence... (I kept saying "OH MY GOD!!!", just knowing he was trying to set the guy off.) What a "fun" horror movie!

George Pastell as the Egyptian played a vaguely similar role (though in fact a much more malevolent one) in the DOCTOR WHO story "Tomb Of The Cybermen" which was a sort-of sci-fi take off on this. Despite being the villain here, he's kind of sympathetic. I mean, never mind the original desecration-- when those guys decided to "re-seal" the tomb-- and used high explosives to do it (!!!) I was flabbergasted! I mean, WHAT kind of "archeologists" would EVER do such a thing? It's like, they were just "asking for it"!

Although Hammer did 3 more Mummy movies, none were sequels to this-- or, in any way connected with each other. But then, the Universal Kharis films had no real connection with the Im-Ho-Tep film, either. Strange business...

I'm a huge fan of Hammer horror, but the mummy has long been my least favourite 'classic' monster and this Technicolor revamp of the Universal series does little to change that fact.

The story is run-of-the-mill mummy guff: Mehemet Bey (George Pastell), a devotee of Egyptian god Karnak, revives mummy Kharis (Christopher Lee) to exact revenge upon the archaeologists who desecrated the tomb of high priestess Ananka. John Banning (Peter Cushing) attempts to defeat the crumbling creature, which has designs on his wife Isobel (Yvonne Furneaux), who, for some unexplained reason, bears an uncanny resemblance to Ananka.

With such a creaky script (from the usually reliable Jimmy Sangster), there is precious little director Terence Fisher can do to bring the story to life, and the film offers very few thrills, with only the attack on John Banning's father (Felix Aylmer) in a locked padded cell generating any excitement. Fisher also seems to have laid his hands on a job lot of green bulbs and uplighters, transforming Ananka's tomb into something akin to a trendy Egyptian-themed wine bar, while the African exteriors consist of a few potted palm trees and some random jungle shrubbery, all of which fails to convince.

Still, this film was successful enough to spawn three more mummy films - The Curse of the Mummy's Tomb (1964), The Mummy's Shroud (1967), and Blood from the Mummy's Tomb (1971) - the last of which is the only one I have seen (and hated). I'm not expecting much from the other two...

This was the best of all the "Mummy" movies ever made. It was crafted with the finesse so lacking today. Regrettably, it the sort of film most likely to be dismissed, because it wasn't made in the 1930's or recent times.

Lee's Kharis was incredible, and very scary, esp. with his first appearance.

Great movie. All the characters were very well cast and directed. This had the same quality as the previous two Hammer remakes, on Frankenstein, and Dracula.

Unfortunately, what would follow in the years to come would not have the same quality.

Writer Jimmy Sangster, director Terence Fisher, and stars Peter Cushing and Christopher Lee returned together for the third time in as many years for Hammer's next re-hash of a Universal classic, this time "The Mummy". Unfortunately, the weak points that were beginning to show in "Dracula" the previous year finally buckled the production. Sangster's script was fairly mediocre for "Dracula", which was only saved by Fisher's superb directing and Lee's undeniable presence and the horror imagery, and his script for "The Mummy" was so weak that it left Fisher virtually nothing to work with and it completely inhibited the film and made it the empty, slow-burner that it is. Cushing is solid, as usual, while Lee is the most unrecognisable that he would ever be in a Hammer production where he plays the monster, hidden away under all them rotten bandages. But his lanky gait and towering presence would give him away any day!

The low-budget really shows here. But it makes for delightful, cheap sets. The film opens in Egypt in the last decade of the 1800s but it is clearly just a set design with a few potted palm trees and jungle shrubbery thrown about. I thought that this had a nice, cosy effect to it, and I would never criticise a Hammer film for its low production values, because all that aside the studio single-handedly saved the horror genre from fading away when it injected the life back into it. A family of archaelogists, among them Peter Cushing, locate and break into a long fabled tomb of an Egyptian princess. They take the loot and the body and return (thankfully, for the production's sake) back to England. You could write it yourself from here... we end up having a mummy hulking and lumbering around the English countryside, seeking vengeance for the violation of its tomb.

"The Mummy" is one of the lesser Hammer Horror films, in my opinion. There is little scares and it all just trudges along slowly, like the titular monster. Some excellent imagery - such as the scenes in the swamp - save the film from a lower rating, but overall, Sangster's script was very poor and it left the rest of the film with nothing to work with and this was the disappointing result.

When Hammer started making horror movies in the 1950s that were inspired by some of the classic Universal movies of the 1930s they had to tread carefully. Universal threatened legal action if they copied the makeup of their Frankenstein's monster for example, which is the reason the Monster (played by Christopher Lee) looked quite different to Karloff's in Hammer's 'Curse Of Frankenstein'(1957). By the time they made 'The Mummy' two years later some kind of understanding had been entered into and this movie, though it isn't credited as such, and the characters names have been changed, is pretty much a remake of the 1932 Universal classic which starred Boris Karloff. Once again Lee plays the Karloff role, except a second character played by George Castell has been created for this version, so we don't get to see Lee without his bandages, apart from a brief flashback sequence. Peter Cushing plays the leading man role, an archaeologist who is initially sceptical but soon must accept the existence of the Mummy. Yvonne Furneaux plays Cushing's devoted wife who is also a dead ringer for Princess Ananka, the woman the Mummy loved centuries earlier. Furneaux is probably best remembered for playing Catherine Deneuve's sister in Polanski's classic 'Repulsion', and also appeared in another sixties art film classic Fellini's 'La Dolce Vita'. Cushing gives a terrific performance as usual. I've yet to see a Hammer movie where he didn't. Lee makes a menacing Mummy, even more powerful and threatening than Karloff's. Though I still love the original version of 'The Mummy' this one is almost as good. In fact it's very difficult to choose one over the other. Both come with my highest recommendations and wipe the floor with the recent tongue in cheek versions starring Brendan Fraser et al. It's a pity that Hammer didn't make more Mummy movies starring Cushing and Lee. I do however highly recommend Hammer's 'Blood From The Mummy's Tomb', even though it has no connection to 'The Mummy' and doesn't feature either actor.

Working their way through Universal's back catalogue Hammer came to 'The Mummy' with this studio-bound but stylish production in sumptuous colour with as usual an interesting cast ranging from veterans like Felix Aylmer and Raymond Huntley to exotic continental import Yvonne Furneaux.

The unsung genius of the early Hammer years, however, was musical supervisor John Hollingsworth, who before he died of TB in 1963 commissioned several up-and-coming composers, notably Franz Reiszenstein, who here contributes a truly magnificent score.

Hammer remakes Universals' "Kharis" series of 1940s mummy movies, with engaging results, in standard tale of "profaners of the tomb" and the consequences that they must face. In the late 19th century, elderly Stephen Banning (Felix Aylmer), his brother Joseph Whemple (Raymond Huntley), and Stephens' son John (Peter Cushing) lead an expedition that discovers the Egyptian tomb of the Princess Ananka. The mummy watching over things is Kharis (Sir Christopher Lee), who is brought back to England three years later to dispatch Joseph and the Bannings.

"The Mummy" is not as thickly atmospheric as the best Hammer films, and those Egyptian scenes do look pretty artificial, but it still delivers quite a bit of fun. Lee carries on the tradition of a shambling, stumbling automaton in high style, and his character has the appropriate amount of true physical menace. Plus, Lee is allowed to express a fair amount of emotion through his eyes, the only part of his body not covered by Roy Ashtons' excellent makeup. It's great fun to watch him and his old friend Cushing tussling in action scenes. The very gorgeous Yvonne Furneaux doesn't show up until around the one hour mark, but as the wife of Cushings' character, she does play a rather important role, since Mrs. Banning coincidentally bears a resemblance to the Princess.

Aylmer and Huntley are joined by other top British character players like Eddie Byrne (as the police inspector), George Pastell (a Hammer repertory player who often specialized in ethnic roles), the ubiquitous Michael Ripper (in a funny comedy relief role as a drunken, frequently frightened poacher), George Woodbridge (as a police constable), and Willoughby Gray (as Dr. Reilly). Cushing is a delight, as always.

Accompanied by ominous music composed by Franz Reizenstein, "The Mummy" is just as colourful and pleasing to look at previous Hammer Gothic favourites "The Curse of Frankenstein" and "Dracula". Definitely recommended.

Seven out of 10.

So let's face it - it definitely is an old movie. But it all depends on the way you watch it, you either respect and understand the fact that it's 45 years old and you try to see it as if you lived then or you just frown and smirk at every bad (read-old) effect and acting & storytelling.

This one was actually quite a surprise for me. First, it was in color which I didn't expect at all, second, it had all the true spirit of the mummy franchise so to speak, and it had Christopher Lee who's acting abilities just over shone everyone else's attempts. He was the true star and protagonist, making the pathway to acting as we know it today. The movie altogether looked like it cost a penny or two back then and it was just nice to see one of the first mummy movies ever made I guess, it had all the elements the newer ones only copied.

Recommend to anyone who likes old movies

Christopher Lee's portrayal of the centuries-dead mummy brought back to life was one of the key reasons this Hammer production scared me so much as a child (long ago, the Turner stations used to play these films regularly on Saturday mornings); but, unfortunately, "The Mummy" hasn't aged as well as the studio's other productions. The film unravels at a slow pace, much of the dialogue is nonsensical (but the actors do make it credible), and, for a guy who's been in a tomb for over 4,000 years, the mummy's wrappings look like they were applied yesterday. The movie does, however, have some intelligent things to say about 'the process of belief,' and Peter Cushing, as usual, is the epitome of class as the archaeologist targeted by the mummy. As a whole, the film is good, old-fashioned horror entertainment, but also outdated and paced like an Egyptian funeral procession.

6/10

I don't have words to express to you how letdown I am over this Hammer Horror flick lol. This is my first movie from Hammer. I love a lot of the Universal Mummy stuff, and I was hoping this would be just as good. It's not.

Christopher Lee was fantastic as the mummy, and his makeup work was beautiful. I'll never forget it. But everything else? Boring. Absolutely boring. Even Cushing isn't interesting, here. There aren't even any characters to care about. The movie just sucks, all around. Is exactly what happened with the IT remake-an amazingly casted and portrayed monster in a cheap, garbage of a film.

The Mummy capped off an impressive initial run of horror movies from Hammer Studios. Believe it or not, it was mostly downhill from here; the company's subsequent efforts tended to be tackier and cheesier. But the "big three" (Curse of Frankenstein, Horror of Dracula, The Mummy) are all solid horror flicks with, oddly enough, some of the most crisp and colorful photography I've ever seen.

There are some weaknesses here, though. The Egypt flashback waffles on for quite a while, and then we get ANOTHER flashback when Banning Sr. resurrects the mummy. However, the beginning and ending are well-paced and exciting, so most sins are forgiven. Lee's Mummy is spectacular; he's goddamn huge, and it's very impressive to watch him crashing through doors and French windows, absorbing shotgun blasts as if they were pinpricks (I hear Lee actually got injured several times making this movie; I can't say I'm surprised!)

My favorite scene is the ideological debate between the Egyptian badguy (a very cool performance by George Pastell) and Peter Cushing's snooty archaeologist character. Their heated exchange adds a bit of texture to the story and even makes me sympathetic to the villain's POV. However, subtext goes out the window again for the violent final confrontation.

On a side note, the exceedingly brilliant BBC show Doctor Who practically remade this movie twice. The episode "Tomb of the Cybermen" features Pastell as a guest star in a story involving an ill-fated archaeological dig, and "Pyramids of Mars" once again pits a hapless poacher against killer mummies. Just thought I'd mention it.

I'm going against the majority of views expressed here and not raving about this movie although its certainly better than the 1999 remake.

Not one of Hammers best despite good performances by Peter Cushing and Christopher Lee - it never really develops any tension until late on. Much of the camera work/editing is turgid and the atmosphere nosedives when Cushing/Lee are not onscreen. The poor indoor 'outdoor' sets also spoiled the atmosphere. Hammer did a lot better both before and after this one.