The Mummy (1932) stars Boris Karloff and Zita Johann as two lovers separated by millennia. The tragic romance is tinged with enough of the supernatural to make their story much deeper than the average fright film. This was unlike most acclaimed Universal Pictures' horror legacies, which had a little something extra. Frankenstein was a cautionary tale of messing around in God's domain. The Wolf Man was an atmospheric story about a man wrestling his own inner demons. The thing about The Mummy, is it's not a horror movie at all.

A British archaeological expedition in Egypt has turned up less than desirable results. Just as the diggers are ready to pack up their meager discoveries and head back home, the mysterious Ardeth Bay (Karloff) provides them with a clue that leads to the find of the century: the tomb of Princess Anck-es-en-amon. The Brits are all well and content with their newfound treasures, but little do they know of Bay's real motives.

Zita Johann

The truth is Bay is actually the resurrected corpse of Imhotep, a high priest from ancient Egypt who once upon a time was deeply in love with the princess. His attempts to bring back his lover after her death led to his being mummified and buried alive, but that hasn't quashed his romantic feelings for her. Now returned to life, Imhotep is dead set on reawakening Anck-es-en-amon at all costs. Can he do that when her soul currently resides in the body of socialite Helen Grosvenor (Johann). Her friends and family aren't about to let Imhotep go through with his nefarious plot without a fight.

In comparison to other Universal shockers (not to mention horror films in general), The Mummy seems really rather low on scares. There are no scenes of a mummified Imhotep lumbering after hapless victims or shots of him bursting out of the shadows to give the audience a cheap thrill. But that wasn't what the film's creators set out to do. The Mummy was designed to engage viewers on a much different level than merely spooking them from time to time. The story is geared more towards generating mystique over fear, developing the titular figure not as a one-dimensional antagonist but more as someone whose good intentions have tragic consequences. With his lanky physique and piercing stare, Karloff easily brings out Imhotep's imposing traits, yet it's pleasantly surprising how deep takes his character. Centuries of torment are unveiled in his eyes and the way he carries himself. Even though he's the villain in this compelling drama, one can't help but hope he reconnects with his sweetheart in some way or another.

Another way the film triumphs is its design. When stacked up against some of the more cheaply-made B-flicks of the time, The Mummy is handsomely-made and filled with an attention to detail. The Egyptian sets are a marvel to look at, but The Mummy's biggest claim to fame is its extraordinary make-up design. The job done on Karloff turning his brief tour of duty as a mummy is impressive indeed, but even more chilling is the design done on him as the "fleshed-out" Ardeth Bay. Karloff looks creepy enough on his own, but thanks to the talents of make-up maestro Jack Pierce, the character's visual eeriness is enhanced tenfold.

Those looking for something a little deeper from a tale of terror would do well by checking out The Mummy. It carries a hint of stiltedness and ends on a fairly sudden note, but considering how quickly Universal's follow-ups to its hottest horror properties went south in terms of quality, it's even more impressive that the film stands on its own as a picture rich in thematics and visual flair.

Director: Karl Freund

Writer: John L. Balderston (story by Nina Wilcox Putnam and Richard Schayer)

Cast: Boris Karloff, Zita Johann, David Manners, Arthur Byron, Edward Van Sloan, Bramwell Fletcher, Noble Johnson

Rating: No MPAA Rating (some eeriness)

Classic Movie Guide Rating: 4 out of 5 stars

Run Time: 75 minutes

Studio: Universal Pictures

Format: Black-and-white, fullscreen

Photo credits:  Universal Pictures