The Mummy (1932) Review: Karloff's Creepy Eyes Still Haunt

Alright, let's talk about The Mummy from way back in 1932. Is it worth putting on today? Yeah, actually, if you’re into atmosphere and the kind of slow, creeping dread that doesn’t rely on cheap jump scares. This one’s for the patient horror fans, the ones who appreciate a good silent stare. If you need explosions and non-stop action, you’ll probably find yourself checking your watch every five minutes. It’s a mood piece, really.

Boris Karloff, man. He’s the whole show. You first see him as Imhotep, just after he’s woken up. He’s not doing much, just these slow blinks and that incredible, almost knowing stare. It’s not loud. It’s really quiet. The way he just takes that scroll, and then the scene cuts, leaving you to imagine the rest. That’s good stuff.

Later, as Ardath Bey, he’s got this intense stillness. He doesn’t move fast, ever. His voice is low, kind of hypnotic. But those eyes! They do so much work. You can almost feel the weight of centuries behind them. When he’s just sitting there, watching Helen Grosvenor (Zita Johann), it’s truly unsettling. You know what he wants, and it's not good.

The pacing is definitely… different. It takes its sweet time. Not a lot happens quickly. It feels like a stage play sometimes, with people talking in hushed tones in grand, slightly dusty rooms. The scenes where Ardath Bey is trying to show Helen her past life, those moments are pretty cool. The superimpositions, the flashes of ancient Egypt – it’s simple, but it works to pull you into the idea.

I mean, the whole idea of Imhotep being this ancient priest, so deeply in love that he tries to raise the dead, and then he just… waits. For thousands of years. That’s commitment, right? It’s not about slasher kills, it’s about a curse, a haunting obsession.

And poor Dr. Muller (Edward Van Sloan), always the guy who knows too much. He plays a similar role in Dracula too, always the smart one warning everyone. His warnings here are pretty much ignored until it's almost too late, as usual.

Zita Johann as Helen is interesting. She’s got this otherworldly quality, like she really *could* be an ancient princess. You believe her when she’s torn between her modern life and this ancient pull. The way she kinda floats through scenes, it just adds to the film’s dreamlike, sometimes eerie vibe.

There are parts that drag, sure. Some of the talky bits feel a bit stiff. It’s a film of its time, no doubt. But then Karloff does something small, a tilt of his head, a shift in his gaze, and you're right back in it. The way he summons the powers, with just his hands and eyes… simple but effective.

It’s not a perfect movie, not by a long shot. But it has this undeniable power, a certain classic chill that still holds up. It's a foundational horror flick, and you can see its shadow on so many films that came after.

Didja Notice?

• The close-up on the scroll just before it’s read? The camera really wants you to know this is important.
• That one shot of Karloff’s mummy hand, all shriveled and creepy, when he reaches for the scroll? 😬 Still gets ya.
• The archaeologist who laughs maniacally after reading the scroll? He pretty much immediately loses his mind. Serves him right.
• The film just *loves* a good dissolve. Everything fades into everything else.
• How they keep using the same few ancient Egyptian carvings over and over in the flashbacks. Budget filmmaking, but it kinda adds to the repetitive, dreamlike feel.
• Ardath Bey’s little servant guy, Velasquez (Noble Johnson), is always just silently there, lurking. He’s creepy.
• The way Helen keeps fainting. It's a lot of fainting.
• The Egyptian museum set looks pretty good, actually. Lots of interesting props.