#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – In 1921 a field expedition in Egypt discovers the mummy of ancient Egyptian prince Im-Ho-Tep, who was condemned and buried alive for sacrilege. Also found in the tomb is the Scroll of Thoth, which can bring the dead back to life. One night a young member of the expedition reads the Scroll out loud, and then goes insane, realizing that he has brought Im-Ho-Tep back to life. Ten years later, disguised as a modern Egyptian, the mummy attempts to reunite with his lost love, an ancient princess who has been reincarnated into a beautiful young woman.
Plot: An ancient Egyptian priest named Imhotep is revived when an archaeological expedition finds his mummy and one of the archaeologists accidentally reads an ancient life-giving spell. Imhotep escapes from the field site and searches for the reincarnation of the soul of his lover.
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|7.1/10 Votes: 23,875|
|6.9 Votes: 344 Popularity: 14.841|
After watching Frankenstein and Dracula, this one is far above them.
“Is it interesting?” This one kept my interest for quite a while, though the editing was a major flaw.
2 out of 3.
“Is it memorable?” If I think of classic monster movies, I will think of this one. Especially the story.
2 out of 3.
“Is it entertaining?” That is the biggest problem. We have a great bad guy with a recognizable motivation, but out protagonists bumble along. The characters aren’t evenly represented. I knew who was going to win or lose and stopped caring why. Just was waiting to find out how.
1 out of 3
Start with 1, 1+2+2+1=6
It might be a while but would watch again. Would also mention it to others, but let them judge how good it was. It’s not for everyone.
Put it back. Bury it where you found it. You have read the curse. You dare defy it?
The Mummy is directed by Karl Freund and written by Nina Wilcox Putnam, Richard Schayer and John L. Balderston. It stars Boris Karloff, Zita Johann, David Manners, Arthur Byron, Edward Van Sloan, and Bramwell Fletcher. Music is by James Dietrich and cinematography by Charles J. Stumar.
The first of Universal’s Mummy films follows the story of Imhotep (Karloff), who after being awaken from his tomb by expedition workers, believes his lover has been reincarnated in the body of a modern woman.
It’s undeniably slow moving, it’s stagy, and away from Karloff the acting and dialogue is just about reaching average qualities. Yet there’s a haunting quality to the pic, with a number of genuinely eerie sequences. The shadowed photography helps greatly for funereal atmospherics, while it’s somewhat refreshing to find a film of this type not resorting to shock tactics to get your attention.
An important film in a lot of ways and well worth a look for those interested in the history of Horror Film. 7/10
The greatest of the Universal horror films
What director Karl Freund achieves in this movie is nothing short of staggering, even at a remove of nearly 70 years. If this same story, with this same basic approach, were released today, it would still be great. And especially now, when the box office successes of such movies as The Sixth Sense, What Lies Beneath and The Blair Witch Project demonstrate that audiences are hungry for a return to the classic horror virtues of style, mood and suspense (as opposed to the tired formula of gore, in your face shocks, special effects, and more gore) The Mummy would seem ripe for some kind of revival (too bad the lame Brendan Fraser vehicle has stolen its title – though nothing of its wit, skill, or conviction).
What makes this movie so good is. . . gosh, there are so many things! Start with the creepy and unsettling tone, which the movie establishes right away. The very first scene – where the Mummy is awakened – is one of the greatest ever for pure atmosphere and chills. Look at the way Freund *under* plays it, every step of the way. Instead of piling on a crescendo of “scary” music and using odd or distorted camera angles to dramatize the situation, he has the action play out in total silence and with a resolutely still camera, the tasteful cut-aways (from the mummy in the tomb to the archaeologist sitting not five feet away) being the only frill. The tension which results is unsettlingly powerful – and is made moreso by the fact that the scene refuses to resolve itself in the way which we expect it to. I’ll give no more details, but when you watch the film, ask yourself: isn’t *this* resolution ten times more creepy and effective than the one we thought we saw coming. Already, five minutes in, it’s clear that The Mummy has a far more wicked, sophisticated sense of horror than any of the other big “monsters” of the day (Dracula, Frankenstein, Wolf Man, etc.) – and a good deal more than many that have come after, too.
But of course, all the style in the world ultimately cannot save a weak or hackneyed script. And so it’s a great pleasure to report that all of Freund’s technical finesse is at the service of a really super cool story. Not content to be merely a spooker, the film is also – nay, one might even say primarily – a tragic love story: one that deals intelligently with such provocative notions as forbidden love, reincarnation, religious desecration, inhuman torture, and a strong sub-theme of the desire to respect the past vs. the need to live for the moment. All of these elements swirl so ingeniously and non-didactically in The Mummy’s streamlined storyline, that I’m tempted to proclaim this at once both the most compact, as well as the most ambitious, horror movie script I have ever come across.
Of course, such superlatives can get you in trouble too, so let me add that yes, there are flaws – mainly the ones endemic to all horror movies of the time. The so-called “hero” is once again a young man of no charm or interest whatsoever. Meanwhile, the venerable old “expert” who must explain the ways of the monster to everyone else is already a tired convention at this point – and since the role here is played by Edward Van Sloan (who was Van Helsing in the original “Dracula” and its sequel “Dracula’s Daughter”, as well as Dr. Waldman in “Frankenstein”) there is an even greater than usual sense of perfunctoriness to the undertaking. However, even here the movie displays its strength and uniqueness by toying with our expectations of what these stock characters will be able to do and achieve. Whereas in most other horror films, the romantic lead and the crusty old doctor end up being the white knights who vanquish the monster and save the girl, here they operate on a much less exalted plane – and are thereby made more human in the process.
As for faults, that’s pretty much it. The pace is masterful; some have called it slow, but I strongly disagree. The film flows naturally and inevitably, with every scene building upon the one before it. There’s nothing extraneous in the way it unfolds – achievement enough when compared to the countless other horror movies of its day. As an added treat, there is a flashback sequence in the middle of the movie that is a mini-masterpiece all by itself: it has all the fury and grandeur of a D.W. Griffith silent, honed and encapsulated down to its bare essence. It tells the tale of the title character’s previous life with an economy and precision that could still serve as a model for filmmakers today. And, well, most of all, the movie has. . . Boris Karloff.
I’ve restricted my discussion of him until the end because his towering greatness is so routinely accepted and understood that it’s almost redundant to comment upon it. Also, I wanted to make clear that, though he is the film’s chief asset, he is far from its only one. But there’s no question that it is his stately, brooding, menacing performance that ultimately pushes this film over into the realm of greatness. The key thing here is this: while the concept of a centuries-old being raised from the dead and out for vengeance is a great *idea*, Karloff’s portrayal is what gives it tangible, terrifying REALITY. Observing this man – with his stiff ramrod posture, his measured and stately movements, and his absolutely hypnotic voice – we are truly convinced, on a visceral level, that yes here indeed is the walking dead. That kind of verisimilitude is rare enough in horror movies of any era, and its presence here stands as an absolute revelation. Just as does the entirety of this wonderful, exquisitely made film.
No man ever suffered as I did for you
Egyptian expedition uncovers the mummy of Imhotep (Boris Karloff) and inadvertently brings him back to life after thousands of years. A decade later, now going by the name Ardeth Bey, the mummy seeks the reincarnation of his lost love (Zita Johann). This is one of the great horror classics from the Golden Age of Hollywood. The Mummy is very different from the cliché image people have of it today. The bandage-wrapped mummy slowly shuffling through the dark towards his victim would come largely from the later Universal series. There is one short but unforgettable scene at the beginning of this film that features the iconic mummy. The image of the mummy gradually opening his eyes is a classic. This scene is the highlight of the film for many, showcasing makeup artist Jack Pierce’s genius. The makeup holds up even by today’s standards and outshines anything we have been able to do with computer imagery.
The script is heavily influenced by Dracula, which was released the previous year. The screenwriter, John L. Balderston, had written the stage play that Universal’s Dracula film was based upon. It also has the cinematographer of Dracula, Karl Freund, as the director. It even features a couple of notable cast members from Dracula: Edward Van Sloan and David Manners. I actually find it to be a superior film to Dracula in many ways. Freund’s direction is better than Tod Browning’s for starters. The stagey elements are gone. The story is very good. Unlike many future Mummy movies, both at Universal and later Hammer, the focus is not on a “monster” that kills people. Instead the focus is on slowly building a sinister mood. It’s an atmospheric picture, as all the truly great horror films are. The Egyptian visuals and mythology add something extra to the ambiance of the film. It must have been especially intriguing to audiences in 1932.
Boris Karloff, with his trademark voice and manner, gives a subtle, ominous performance as Imhotep/Ardeth Bey. It’s a legendary performance by one of the icons of horror. The scenes of Imhotep’s evil eyes glowing in closeups or the eerie scene where he chants over a scroll by candlelight are the stuff of legend. Zita Johann does quite well, as do the aforementioned Van Sloan and Manners. Plus Arthur Byron and a memorable turn by Bramwell Fletcher as the man who actually revives the mummy (“He went for a little walk!”).
I love this movie. I love Universal horror films in general but this is one of the jewels in the crown. The acting, directing, writing, and makeup are all excellent for the period. I would encourage everybody to try these classic films out. I realize not everyone can enjoy older films and I think that’s a shame. But please if you are able to see past the age of this film and lose yourself in it, I think you will enjoy it very much.
Original Language en
Runtime 1 hr 13 min (73 min)
Genre Fantasy, Horror
Director Karl Freund
Writer Nina Wilcox Putnam (from a story by), Richard Schayer (from a story by), John L. Balderston (screen play)
Actors Boris Karloff, Zita Johann, David Manners, Arthur Byron
Awards 1 win & 3 nominations.
Production Company Universal Pictures
Sound Mix Mono (Western Electric Noiseless Recording Sound System)
Aspect Ratio 1.37 : 1
Laboratory Universal Studios Laboratory, USA
Film Length (8 reels), 2,014 m (Netherlands)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm