The Mummy (1932) - Universal - Movie Review - History

Written By: Ken Hulsey

In 1932 a new horror movie was put into production to capitalize on the success of Frankenstein, and its star Boris Karloff. The initial idea was to produce a film based on the real life exploits of the French mystic Cagliostro, who claimed that he had lived for several generations. This idea was soon dropped for a screenplay that was penned by Nina Wilcox Putman that featured the resurrected corpse of an ancient Egyptian prince. One has to remember that Tutankhamen’s tomb had just recently been discovered and there was a national obsession with Egyptology. Universal felt that the combination of Karloff and this topical theme would guarantee a hit, and they were right.

Despite the fact that a film featuring the popular Karloff would be shoe-in to be a success, Universal didn’t want to take any chances. Karl Freund (Frankenstein, Dracula, I Love Lucy) was hired to direct a film whose script was almost a duplicate of the script for Dracula, a film that Freund was the cinematographer for. In fact The Mummy featured several scenes, dialogue and even some of the same actors that were in the Bela Lugosi classic. It would also figure that fellow Dracula alumni Edward Van Sloan and David Manners also had their hands in the production. Yet, despite the fact that the film itself may be a clone, it struck a chord with audiences and is considered to be one of Universal’s classics in its own right.

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Cast alongside Karloff as the female lead was the uniquely beautiful Broadway actress Zita Johann. Johann however was not the studios first choice to play Princess Anck-es-en-Amon and her modern reincarnated counterpart Helen Grosvenor. Originally Katherine Hepburn was offered the role, but prior obligations kept her out of the picture. This may have come to director Karl Freund’s dismay. Johann would argue with her director over how scenes were to be shot constantly during filming. Freund in turn would do everything he could to make the actress uncomfortable. It has often been noted that he made her stand on the set for days so that her dress wouldn’t get creased. On the last day of shooting Johann was sent onto a stage with live lions while Freund stayed behind a protective barrier. Probably adding more insult to injury was the fact that the scene, along with several others that showed Helen Grosvenor’s past lives, was cut from the film. It is probably for these reasons that Johann often referred to the director as “the monster.” It should also be noted that the hypnotic actress had more than a passing fancy for the occult, which seemed to come through in her performance. In this way she was the perfect counter balance to the macabre Karloff.


In 1921 a British expedition unearthed the mummified remains of the High Priest Imhotep, which had been buried alive some 3,700 years prior for trying to resurrect the body of his departed love, the Princess Anck-es-en-Amon. A researcher named Ralph Norton discovers the Scroll of Thoth in the Mummy’s effects and while trying to translate the inscription accidentally utters an ancient spell that brings Imhotep back to life. Upon seeing the animated corpse Norton is driven mad and begins laughing hysterically. While the researcher trembles in fear the Mummy reclaims the scroll and shuffles out into the desert.

The Mummy would return ten years later in the form of an Egyptian priest named Ardath Bay (an anagram for Death by Ra). Bay instructs another research team where the remains of his love could be discovered and then disappears again. Once the remains had been exhumed and put on display in the Cairo Museum, Bay would again appear ready to bring back the soul of Anck-es-en-Amon. It soon becomes apparent however that the princess’s soul has moved on and is now inside the young socialite Helen Grosvenor. Bay’s only chance to be reunited with her now is to mummify her and bring her back with the same spell that resurrected him. In the films climax the archaeologists discover Bay’s true identity and his evil intentions just in time to burn the sacred scroll turning the Mummy to dust.

The Mummy will always remain a true monster classic. Once again Karloff delivers a stellar performance behind the incredible makeup of Jack Pierce. Look closely at the face of Ardath Bay, his skin looks amazingly like a mixture of flesh and bandages. Zita Johann is hypnotic as Helen Grosvenor (Amon) and the rest of the cast turn in memorable performances. Though most of the script may be “borrowed” it isn’t a distraction from making the film enjoyable. Just more proof that it is always better to go with a tried and true formula if it works properly with the theme. At least that is what Hollywood has been trying to convince moviegoers of for decades. Yet maybe this isn’t the place for me to get too preachy. Even though the Mummy may not be “original” it is a classic that is not to be missed.

Trivia:
1. Boris Karloff had created such a fan following from his role as Frankenstein that Universal billed him simply as "Karloff The Uncanny"
2. Boris Karloff sat through eight hours of makeup application each day before filming. The makeup took longer to apply, and was more painful to remove, then Frankenstein's.
3. Several scenes featuring the re-incarnated soul of Anckesen-Amon as it traveled from generation to generation were filmed, but never made it into the finished film either by director's choice or were banned by the Hays Office.
Famous Quotes:
Frank Whemple: Oh, I know it seems absurd when we've known each other such a short time. But I'm serious.
Helen Grosvenor: Don't you think I've had enough excitement for one evening, without the additional thrill of a strange man making love to me?
Frank Whemple: Yes. The fourteen steps down and the unbroken seals were thrilling. But when we came to handle all her clothes and her jewels and her toilet things - you know they buried everything with them that they used in life? - well, when we came to unwrap the girl herself -
Helen Grosvenor: How could you do that?
Frank Whemple: Had to! Science, you know. Well after we'd worked among her things, I felt as if I'd known her. But when we got the wrappings off, and I saw her face... you'll think me silly, but I sort of fell in love with her.
Helen Grosvenor: Do you have to open graves to find girls to fall in love with?
Doctor Muller: Look - the sacred spells which protect the soul in its journey to the underworld have been chipped off the coffin. So Imhotep was sentenced to death not only in this world, but in the next.
Assistant: Maybe he got too gay with the vestal virgins in the temple.
Doctor Muller: Possibly.
Sir Joseph Whemple: "Death eternal punishment for anyone who opens this casket. In the name of Amon-Ra the king of the gods." Good heavens, what a terrible curse!

The Mummy (1932)

Universal

Aka: Cagliostro, Im-Ho-Tep & King of the Dead

Directed By: Karl Freund

Written By: Nina Wilcox Putnam, Richard Schayer & John L. Balderston

Cast:

Boris Karloff as Im-ho-tep / Ardath Bey

Zita Johann as Helen Grosvenor / Princess Anckesen-Amon

David Manners as Frank Whemple

Arthur Byron as Sir Joseph Whemple

Edward Van Sloan as Dr. Muller

Bramwell Fletcher as Ralph Norton

Noble Johnson as The Nubian

Kathryn Byron as Frau Muller

Leonard Mudie as Prof. Pearson

James Crane as The Pharaoh

Runtime: 73 min

Country: USA

Language: English

Color: Black and White

Sound Mix: Mono

Released: December 22, 1932

See Also: Frankenstein (1931) - Universal - Movie Review - History / Dracula (1931) - Universal - Movie Review - History

Frankenstein (1931) - Universal - Movie Review - History

Written By: Ken Hulsey

In 1818 a young aristocrat named Mary Shelley was inspired by a summers night of ghost story readings by a group of friends, to write what may be the greatest horror story in history. Her short story, entitled “Frankenstein”, about a scientist named Victor Frankenstein and his attempts to generate new life from dead tissue has inspired novels, plays, TV series and countless movie adaptations. Her monster, however, was a far different creature than the famous interpretation by Boris Karloff in the 1931 Universal adaptation of Frankenstein that everyone is familiar with. Karloff’s monster was a slow mute who acted out violently from fear and confusion. Shelley’s monster was both intelligent and articulate. His violent behavior stemmed from the internal anguish over how it had been created. This monster was more than capable of confronting his creator intellectually with his pain and suffering. Ultimately the Karloff version was more cinematically impressive than a direct interpretation of Shelly’s monster could have been. Who would have been afraid of an intellectual monster? Shellye’s novel worked as a written horror tale, but as a film it wouldn’t have carried the same impact.

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In 1926 Willis O’Brien wanted to follow the success of his feature “The Lost World” with a stop-motion adaptation of Frankenstein. This, however, was just a fleeting fascination with O’Brien who soon began work on another monster classic called “King Kong.” The famed special effects wizard did however write a script for another film that would feature both monsters entitled “King Kong vs. Frankenstein”. He peddled the script around several studios that opted to pass on the project. Ultimately Universal kept control of the script and had it on the shelf for several decades before they sold it to the famed Toho film company in Japan who intern turned it into King Kong vs. Godzilla. Reportedly O’Brien wept when he learned the news.



A few years later Universal purchased the rights to Shelley’s novel a set out to bring it to the big screen. Initially French director Robert Florey directed two reels worth of test footage with Bela Lugosi as The Monster. Universal however was not impressed with any of the work so the project was scrapped.

Universal didn’t give up on the idea of a cinematic version of Frankenstein. English director James Whale had come to Hollywood to direct a film based on R.C. Sherriff’s World War I play entitled “Journey’s End.” Whale was also a scenery designer and a commercial artist. Universal felt that “Frankenstein” needed to be a visual heavy film, the director’s artistic skills would be a perfect match, so they handed him the project. As it would turn out “Frankenstein” would always be remembered for its visuals and is always regarded as the most artistic of all the classic horror films produced by Universal.

Boris Karloff arrived in Hollywood in 1917 and began a career as a bit player in several films before James Whale spotted him in the Universal commissary eating lunch. His silent portrayal as the monster in “Frankenstein” would catapult him to the “A” list of Hollywood horror actors. In real life however Karloff was anything but a monster. He was always noted as being a gentle, kind man who loved to entertain children.

When Universal released “Frankenstein” in 1931 the film was a very unique piece to watch. The film has always been regarded as a black and white classic when it was nothing of the sort. When audiences originally saw the film in theatres the daylight scenes were in amber, the night in pale blue, the eerie scenes in green and the fiery climax in red. Universal also thought it was necessary to hype the film up a bit. As if the film wasn’t scary enough on its own the studio found it in their best interest to park an ambulance out in front of many theatres and to keep two nurses on hand in the lobby to raise the chill factor. They even went as far as to place an actress in the audience during every showing who would, at the scariest moment in the film, scream, jump out of her seat, and run up the aisle and out of the theatre. Too bad we don’t see theatrics like that anymore.



The brilliant scientist Henry Frankenstein (Colin Clive)(changed from Shelley’s Victor) has been spending more time in his castle laboratory than he has with his lovely fiance Elizabeth (Mae Clark). Henry as it would seem has become obsessed with creating life through artificial means. Together with his servant Fritz (not Igor) they begin robbing graves to gather pieces that they can use in the experiment. Unknown to the scientist his servant has retrieved the brain of a criminal instead of an intellectual as he was ordered, a mistake that would prove fatal.

Frankenstein brings his creation to life by harnessing the power of an electrical storm to power his generators. The seven-foot-tall creature only twitched at first, but as more power was supplied the monster gained the strength to rise from the table. “ITS ALIVE!”



The monster becomes an object for Frankenstein’s servant Fritz to torment. This ends up being something that the dwarf would regret when he becomes the confused creatures first victim. Frankenstein becomes worried that the being he has created is purely evil so he enlists his friend Dr. Waldman (Edward Van Sloan) to dispose of the abomination. The monster, however, has other plans and strangles Waldman and escapes the castle.





The townspeople become enraged at the discovery of the young girl’s dead body and set out to destroy The Monster. Frankenstein too joins in the search a he becomes the first to spot his creation. The two begin to wrestle and The Monster quickly overpowers the scientist and carries him off to an old mill with the townspeople in chase. Once inside the The Monster carries his creator to the roof while the villagers set the structure ablaze. Another fight breaks out between Frankenstein and his creation. This time The Monster raises his creator above his head and hurls him to the ground below. The structure soon gives way and The Monster never emerges from the flaming heap. Henry Frankenstein manages to survive the ordeal and marry Elizabeth in a happy ending.

Of course we all know that all good monsters never truly perish and movie goers would have a chance to watch Frankenstein and his monster several more times over the decades.



FRANKENSTEIN (1931)


Universal Studios
Directed By: James Whale
Written By: John L. Balderston, Francis Edward Faragoh, Garrett Fort, Robert Florey, John Russell, Mary Shelley

Cast:

Colin Clive as Dr. Henry Frankenstein
Mae Clarke as Elizabeth
John Boles as Victor Moritz
Boris Karloff as The Monster
Edward Van Sloan as Dr. Waldman
Frederick Kerr as Baron Frankenstein
Dwight Frye as Fritz
Lionel Belmore as Herr Vogel
Marilyn Harris as Little Maria
Runtime: 71 Minutes
Country: USA
Language: English
Color: Black and White
Sound Mix: Mono
Released: November 21, 1931

See Also: Dracula (1931) - Universal - Movie Review - History

Dracula (1931) - Universal - Movie Review - History

DRACULA (1931)

Universal Studios
Directed By: Tod Browning
Written By: Bram Stoker, Hamilton Dean, John L. Balderston, Garrett Fort, Dudley Murphy, Louis Bromfield, Tod Browning, Max Cohen, Louis Stevens

Cast:
Bela Lugosi as Count Dracula
Helen Chandler as Mina Harker
David Manners as John Harker
Dwight Frye as Renfield
Edward Van Sloan as Prof. Abraham Van Helsing
Herbert Bunston as Dr. Jack Seward
Frances Dade as Lucy Weston
Joan Standing as Briggs
Charles K. Gerrard as Martin
Geraldine Dvorak as Dracula's Wife
Dorothy Tree as Dracula's Wife
Cornelia Thaw as Dracula's Wife

Runtime: 75 Minutes
Country: USA
Language: English
Color: Black and White
Sound Mix: Mono
Released: February 14, 1931

Written By: Ken Hulsey

The former London Lyccum Theatre manager, Bram Stoker is often credited with creating modern vampire lore through his Victorian novel Dracula, which was published on May 18, 1897. Though the inspiration for dozens of films, TV series, books and plays, Dracula was not a successful novel and is not considered an important work in Victorian literature. It is modern folklore that the inspiration for the vampire in his book was the infamous Vlad III Dracula (“Vlad the Impaler”) yet most scholars agree that is not the case. Though Stoker did discover the name “Dracul” (Dragon) while studying Romanian history and used it for the name of his vampire character, that is where the connection ends. It is a fact that the author was inspired by earlier vampire stories such as Emily Garads “Transylvania Superstitions (1885), Sheridan Le Fanu’s “Carmilla” (1871), John Polidori’s “The Vampyre” (1819) and Lord Byron’s “The Giaour” (1813). The main inspiration, however, would come from the Hungarian Countess Elizabeth Bathory who reportedly killed 700 servant girls to bathe in or drink their blood in attempt to achieve everlasting life. Yet another inspiration was the former Lyceum Theatre manager Henry Irving. Dracula’s mannerisms and gestures were directly copied from Irving, who Stoker often tried to convince to play the vampire in a stage performance of his novel. Regardless of the true origins of Stoker’s Dracula the character has now become the stereotype for which all vampire adaptations that followed have been based.



In 1922 the first film based on the Bram Stoker novel was produced. While originally the movie was to be titled “Dracula” the films producers failed to get permission from Stoker’s widow and the title was changed to “Nosferatu: eine Symphonie des Grauens” (“Nosferatu: A Symphony of Horror). Copyright problems also mandated the location of the story to be moved from England to Transylvania and Germany. The name of the vampire also had to be changed from Dracula to Count Orlock. Method actor Max Schreck would become infamous for his portrayal of Orlock, which to this day is probably the most frightening of any movie vampire in the history of film. It has often been noted that Schreck was such a devoted method actor that he actually began to believe he was a vampire and only could be called for shooting after the sun had gone down. Stoker’s estate was able to win several lawsuits against the makers of “Nosferatu” and all copies of the film were to have been destroyed. All the prints of the film that survive today come from pirated copies that escaped destruction.

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Product Description

Feature titles include: Dracula (1931), Dracula (1931) - Spanish Version, Dracula's Daughter, House of Dracula, Son of Dracula Special Features

Contains four films on two discs
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Feature film commentary by film historian David J. Skal
New Phillip Glass score on Dracula

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Dracula - The Legacy Collection (Dracula / Dracula (1931 Spanish Version) / Dracula's Daughter / Son of Dracula / House of Dracula)
Dracula (75th Anniversary Edition) (Universal Legacy Series)
Dracula (Universal Studios Classic Monster Collection)

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Dracula [VHS]

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Dracula (1931)

In 1927 a theatrical adaptation of “Dracula” written by Hamilton Deane and John L., Balderston became a huge hit on Broadway. This play would star the Hungarian born actor Bela Lugosi who didn’t speak a word of English. Lugosi learned all his lines phonetically, which produced the famous speech pattern that Dracula (and most vampires) would become associated with.

Bela Lugosi (Bela Ferenc Dezso Blasco) came to America in the 1920s’ to pursue an acting career. Even though the actor had starred in several small roles prior, he would always be remembered for portraying Dracula, both on stage and in numerous films. After Dracula became a huge hit the actor was offered the part of “The Monster” in “Frankenstein”, which he turned down. Boris Karloff would become famous for the part, and Lugosi’s short term as the “King of Horror” would end as quickly as it started. Lugosi would go on to play Dracula and other various vampires throughout his career. The actor managed to beat a drug addiction, but ended his career in low budget features such as the infamous “Plan 9 From Outer Space” which would be his last film. He passed away while it was still in production. Despite all of his stage and film roles the actor died in poverty.

Carl Laemmle Jr. had a vision for a big screen adaptation of “Dracula” for Universal that would have been in the same league as “The Hunchback of Notre Dame” and “The Phantom of the Opera.” Laemmle was also very insistent that Lon Chaney, play the vampire in his picture and set out to lure him away from Metro-Goldwyn-Mayer. Unfortunately Lon Cheney passed away from throat cancer before production was set to begin.


Balderson Broadway play for the basis of his production.

Carl Laemmle would end up hiring Tod Browning to direct the film and together they would begin a search for an actor to play the vampire. Ian Keith was the top choice to play “Dracula”, but Lugosi did everything he could to change their minds. Despite rave reviews for his portrayal on Broadway, Lugosi was not what the duo had in mind. Ultimately Bela Lugosi would end up as Dracula, but only after he agreed to a salary far below that of his co-stars.

While the standard version of “Dracula” was being shot during the day there was a Spanish version under the direction of George Melford being shot at night. This film used the exact script and sets as the English language version. The “night crew” had the advantage of being able to view takes from the days shoot and work out better camera angles and lighting. Since the film was produced for distribution outside the US it didn’t have to worry about censorship under the Hayes Code, so scenes that were not allowed in the standard version made it into the Spanish print. Another advantage that the production had was the ability to use some of Browning’s alternate takes for stock footage. It is for these reasons most fans feel that this version is actually superior to Legosi’s classic. The film, along with all the alternate language versions of classic monster films produced by Universal, was believed to be lost forever. In the late 1970s’, however, a complete print of the film was discovered and it was fully restored in 1990.



Dracula would premiere on Valentine’s Day 1931, and was billed as “The strangest love story of all.” The film gained nationwide media attention when it was reported that audience members often times fainted from the horror portrayed on the screen. This was a very well executed publicity stunt orchestrated by Universal who placed actors in the audience at select screenings who would indeed faint or scream at predetermined times. The stunt paid off and people packed theatres to see the film, if for nothing else than for the sake of curiosity. The popularity of both Dracula and Frankenstein, which was released later the same year, would help pave the way for a series of horror films that would secure Universal as the king of the horror genre for decades to come.

Trailer: