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The Mummy (UK Blu-Ray Review)

Specs

Specs

Details

Director: Terence Fisher
Cast: Peter Cushing, Christopher Lee, Yvonne Furneaux, Eddie Byrne, George Pastell
Year: 1959
Length: 84 min
Rating: BBFC: 12
Region: B
Disks: 3 (1 BD, 2 DVD)
Label: Icon Home Entertainment
Release Date: Oct 14th, 2013

Video

Video codec: MPEG-4 AVC
Resolution: 1080p
Aspect Ratio: UK Theatrical Cut: 1.66:1;
Full Frame: 1.37:1
Type: Color

Audio

Audio: English: DTS-HD Master Audio 2.0
Subtitles: English HOH

Extras

DVD DISC 1

  • Original UK theatrical aspect ratio: 1.66:1 (the film has never before been released at this aspect ratio)
  • Alternate “full frame” aspect ratio: 1.37:1
  • (Both features have English HOH subtitles).
  • Commentary – New expert commentary from Marcus Hearn & Jonathan Rigby.

DVD DISC 2

  • “Unwrapping the Mummy: The Making of a Hammer Classic” — New documentary about the film’s creation and history
  • “The Hammer Rep Company” — New documentary about Hammer’s informal repertory company of actors.
  • “Stolen Face” – bonus feature (Terence Fisher’s 1952 crime drama, 72 mins.)
  • “The House Of Horror: Memories of Bray” – Hammer’s all-new documentary (45 mins.) which will premiere on Hammer’s YouTube channel before the Double Play release.
  • “Hammer Stars: Peter Cushing” – The World Of Hammer episode
  • HD Archive/Stills Gallery
  • Original industry promo reel restored to HD (6 mins).
  • PDF booklet by Hammer archivist Robert J. E. Simpson

Blu-ray to incorporate all of the above

THEMUMMY_BLU_2D_R2Hammer Films continue their special edition releases which this time sees them teaming up with Icon Distribution for an updated examination of 1959’s The Mummy. This was to be the third adaptation of the classic Universal monster movies, for which they had acquired the rights to use in the late 1950s. Successful interpretations of Dracula (AKA: Horror of Dracula 1958 – read review) and The Curse of Frankenstein (1957) had stabilized Hammer’s precarious financial situation and allowed them to breathe easy for a spell. The Mummy was based on a script by Jimmy Sangster, who had previously written the adaptations of Stoker and Shelly’s respective work, and who heralded it as a great adventure story. There is indeed a slight departure of style with The Mummy, for it takes on the feel of a Saturday Matinee adventure; albeit one which descends into the throes of Gothic Horror that Hammer are so well renowned for. Sangster took aspects from several Universal features, including The Mummy‘s Hand (1940) and The Mummy’s Ghost (1944), creating a wonderful father / son dynamic which serves as the crux of the feature.

As with all Hammer releases, The Mummy is a lovingly assembled collection of new and exclusive material, all of which serves to accentuate the importance and significance of the British studio. Marcus Hearn and Jonathan Rigby are names which should be familiar to long standing Diabolique readers (see our Peter Cushing Centennial Issue for an interview with them both which pertains to the Lionsgate Dracula release from earlier this year), and it is a pleasure to discover that they have played a significant part in the construction of this double play set.

The Mummy (1959) [Click to enlarge]

The Mummy (1959) [Click to enlarge]

The Film

Joseph Whemple (Raymond Huntley), and his associate Stephen Banning (Felix Aylmer) are archaeologists who are leading an expedition on the search for the lost tomb of an Egyptian royal, known as Princess Ananka. Accompanying the group is Banning’s son, John (Peter Cushing), who is temporarily incapacitated due to a broken leg. They discover what they believe to be the 4000 year old tomb and, despite protests from a local man named Mehemet Bey (George Pastell), they proceed. Inside the tomb, a scroll is found and foolishly read aloud. This seemingly innocuous act results in dire consequences for all involved, as the guardians of the dead are brought back to life through such means.

Back in England several years after the initial events, Stephen Banning has been institutionalized following a severe nervous breakdown, which the doctors attribute to a stroke. Whilst visiting his father, John is informed that the high priest of Karnak, Kharis (Christopher Lee) was summoned when Stephen read the scroll of life which he found in the tomb. John, whose leg is now permanently damaged, after not attending to it properly amidst the excitement of the expedition, puts his father’s claims down to dementia.

Peter Cushing in The Mummy (1959) [Click to enlarge]

Peter Cushing in The Mummy (1959) [Click to enlarge]

Bey subsequently returns to England and summons Kharis, whose body had been lost in a boggy swamp. The creature arises and sets about disposing of those who have desecrated the tomb of his great love, Princess Ananka. Emaciated, tall and rotting, the creature attacks Stephen Banning, who has since been allocated to a padded cell, strangling him to death with a single hand.

John is unhappy with the verdict which is decreed in relation to his father’s death and sets out to investigate (eliciting fond memories of Cushing’s run as Sherlock Holmes). His wife, Isobel (Yvonne Furneaux) bears a stunning resemblance to Ananka, which will play a pivotal role in the thrilling climax. It transpires that Bey is manipulating Kharis for his own nefarious means and a tense and shocking confrontation takes place between all involved.

Christopher Lee in The Mummy (1959) [Click to enlarge]

Christopher Lee in The Mummy (1959) [Click to enlarge]

Video

The choice of aspect ratios; 1.66:1 for the UK Theatrical Cut (available for the first time) and an alternative ‘full frame’ ratio of 1.37:1 is a fantastic option, for it puts to bed any of the purist squabbling that occurred over the correct ratio in which to watch Dracula (1958), also from Lionsgate. Personally, I prefer the 1.66:1 ratio for The Mummy. As far as the HD restoration, it is quite excellent. Care has been taken to clean up the image of debris and other anomalies, but natural film grain has been left intact, and edges have not been sharpened. This means a nice, filmic presentation that respects the look of celluloid.

Audio

Likewise, the DTS-HD Audio track sounds true to its source. No attempt has been made to artificially “enhance” the sound picture. The music score sounds pleasingly full, and the dialog is crystal clear.

Christopher Lee in The Mummy (1959) [Click to enlarge]

Christopher Lee in The Mummy (1959) [Click to enlarge]

Extras

This is where things get delightfully juicy. There are a magnificent range of documentaries included in this release. Jewel of the crown is a 28 minute documentary about the making of The Mummy, entitled Unwrapping The Mummy. This not only features archive interviews with Sangster and Carreras, but also goes to great length to explain the mummification process and Egyptian ideology behind the story. The Hammer Rep Company is a wonderful insight into the character actors who frequented the productions on a regular basis, presented by the enigmatic Hammer authority Jonathan Rigby (who also provides the film’s commentary along with Marcus Hearn).

A full feature film is also included in the package, Terence Fisher’s Stolen Face (1952) one of his earlier crime dramas. The fate of Bray Studios, home of Hammer for many years, is examined in Memories of Hammer, which reveals the integral role which the London based studios had in the Hammer legacy and how uncertainty and neglect leave it in an unenviable and dilapidated state today.

Oliver Reed narrates the full episode of Hammer Stars: Peter Cushing, which is an entertaining and notable episode of an archived TV show. A promo reel and PDF booklet by Hammer Archivist Robert J.E. Simpson make up the bookends of this impressive assemblance of Mummy-related goodies.

Christopher Lee in The Mummy (1959) [Click to enlarge]

Christopher Lee in The Mummy (1959) [Click to enlarge]

Bottom Line

A visually rich and sumptuous film in which harsh reds blend and sickly greens with yellow hues to permeate the screen, adding a vivid and tangible sense of adventure to the story. Fisher controls the performances remarkably, as he did in Dracula. Sangster’s clipped and direct method of scriptwriting suits the mood perfectly. Lee, placed at what some would regard as a disadvantage, draws from his early training as a mime artist to evoke pathos in his role as the monster; with torment and anguish peering out from his bandaged visage.

The Mummy is a gem within the Hammer crown. It incorporates a sense of adventure and classicism which allow it to transcend the perceived hokiness of the monster. Often regarded as the least memorable of the three big monster features, The Mummy, when given the opportunity to shine on its own, as it does with this release, may change the minds of certain naysayers, whilst simultaneously winning some new fans along the way.

Hammer Films continue their special edition releases which this time sees them teaming up with Icon Distribution for an updated examination of 1959’s The Mummy. This was to be the third adaptation of the classic Universal monster movies, for which they had acquired the rights to use in the late 1950s. Successful interpretations of Dracula …

Review Overview

Film
Video
Audio
Extras

Bottom Line

User Rating: 5 ( 1 votes)
89

About Colin McCracken

Colin McCracken is an Irish freelance writer and critic. A lifelong obsession with the darker side of cinema and literature has culminated in an insatiable desire to write endlessly on the subject. His work appears in a multitude of genre publications and he can be found on his website zombiehamster.com with alarming regularity.

3 comments

  1. Thanks for the early review.
    No one complained about the 1.66 for DRACULA, it was spot on ( the film was hardmatted in camera ).
    It was the mess they made of CURSE that annoyed everyone ( and rightly so ). Here’s hoping the framing on this one doesn’t kick off another tempest.

  2. I agreed about Dracula. Very good transfer that left the natural film grain intact. I don’t even mind the “Curse” transfer (full frame), if only they had done something with the faded colors.

  3. Hi all.

    The issue which arose concerning the correct aspect ratio for Dracula was actually one which was highlighted by the BFI and Marcus Hearn during the restoration process. It is all explained in our extensive article on the restored Dracula print, which is available in the Peter Cushing Special Commemorative Issue of Diabolique.

    Hope that this clarifies things. I am very pleased that you enjoyed the review.

    Regards

    Colin

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