The Curse of the Mummy's Tomb (1964)
— Angus Kohm (@AngusKohm) August 29, 2020
When I was a kid, my Dad would come home from work and lie down on the living room couch with a newspaper in his hands. If I came into the room a few minutes later, I would often find him asleep, with the newspaper still open. If I spoke, or made a noise, he would wake up and tell me that he was just resting his eyes.
I often wondered how he could be sleeping at 5:30 PM. I would go to bed at 9:30 PM and lie awake reading for hours some nights.
Nowadays, I go to bed much later, after having watched a movie long after I should have been asleep. I still try to read, but often can’t make it through an entire page before I need to give up and turn out the light. During the day, I spend a lot of time sitting in front of a computer, trying to figure out what to type next or how to solve an editing problem. And I must admit that sometimes I find myself waking up with a stiff neck, having fallen asleep sitting up with my head hanging down at an awkward angle. I’m never sure how long I’ve been out, but if I didn’t work at home alone I might tell people that I’ve been resting my eyes.
So, the secret to falling asleep during the day might be not getting enough sleep at night. Or it might just be getting older. I’m sure that some combination of the two is what works best for me. I used to laugh at one of my university professors who once said “I don’t know about you, but when I wake up from a deep sleep, I get up, stagger around, and don’t know where I am.” Now, I would simply nod my head in agreement (if my neck wasn’t too sore).
And speaking of waking up from a deep slumber…
The Curse of the Mummy’s Tomb (1964) was Hammer Films’ second attempt to revive the legendary monster first unleashed by Universal Pictures in The Mummy (1932). Unlike most of the monster franchises, like Dracula and Frankenstein, the Mummy movies tend to be about different mummies every time. The original Mummy, played by Boris Karloff, was arguably the best and, unfortunately, only a one-off character. The Universal sequels, such as The Mummy’s Hand (1940) were all about a different mummy named Kharis. They had a very different feel from the original film as well. Kharis was a shambling, stumbling monster who did the bidding of others. And he never spoke. Karloff’s Mummy was intelligent, and much scarier in a way. The Kharis films were still entertaining, but they lacked the creepiness of the first film.
The Curse of the Mummy’s Tomb is more related to the Kharis films than Karloff’s. The monster is a mummy named Ra-Antef and, like Kharis, he is a shambling, bandaged figure who seems to be controlled by whoever holds a certain amulet.
The Curse of the Mummy’s Tomb is not Hammer’s best film. It’s a little slow to get going, and even features a long sequence recreating (if one can recreate an imagined historical event) the theatrical unveiling of Ra-Antef to an eager crowd. It’s convincing, and interesting, but seems to take forever to get to the point. However, once Ra-Antef starts to bring his own brand of justice to those who violated his tomb, the movie becomes quite entertaining. There are some very effective moments, and one particular entrance that would make Jason Voorhees proud.
In some ways, The Curse of the Mummy’s Tomb is a perfect example of #NotQuiteClassicCinema. It’s a monster movie from years gone by, which might have played on late night TV back in the 1980s (and probably did). It’s not The Mummy (1932), or even The Mummy (1959) – Hammer’s first foray into the series. It’s one of the less revered sequels, and as such, it would have been right at home on Not Quite Classic Theatre (the much revered TV programme of my youth). They never showed Dracula (1931), but they did show Dracula’s Daughter (1936). If they had bought a package of films from Hammer, I could imagine that this one would have been a part of it.
In any case, I’m glad I finally saw The Curse of the Mummy’s Tomb (1964), and I would happily watch it again on a future dark and stormy #FridayNightAtTheHomeDriveIn.