Hammer trotted out THE MUMMY'S SHROUD, the third in their mummy film series in the U.S. on March 15, 1967 (20th Century Fox) and in the UK on June 18, 1967 (Warner-Pathé Distributors). It opened to overall mixed reviews, despite mummy movies wearing threadbare ever since the 1940s when Universal wrung out what they could of the dusty old soul.
Hammer made it interesting enough despite to overused plot of greedy and thoughtless scientists digging up an ancient Egyptian prince. The prince's protector (now a mummy of course) is brought to the Cairo Museum, whereupon he is brought back to life after Hasmid, a Bedouin loyal to the ancient ways of Egypt revives the mummy by reading a spell off its shroud. Revenge ensues and numerous desecrators fall into the hands of the murderous mummy until it crumbles into dust after--wait for it--a counter-spell is read.
Scripted by John Gilling and Anthony Hinds and directed by Gilling, the cast is lead by André Morell, John Phillips, David Buck, Maggie Kimberly and Elizabeth Sellars. The picture is helped tremendously by a terrific score by Don Banks and cinematographer Arthur Grant, who also lensed a number of other horror films such as THE DAMNED (1963), PARANOIAC (1963), THE TOMB OF LIGEIA (1965), QUATERMASS AND THE PIT (1967) and DEMONS OF THE MIND (1972). Grant shot with Hammer's usual saturated "Technicolor Gothic" with Eastman Color film stock processed by Technicolor.
Producer Anthony Nelson Keys didn't forget to spice up the proceedings with a little "Hammer Glamour" by casting the fetching South African-born Maggie Kimberly in the role of Claire, a linguist and clairvoyant (a play on the name?). Kimberly was featured prominently in promotional shots in her slip and revealing plenty of decolletage. While I don't quite see it because of her sharper features, some say she bears a resemblance to contemporary actress Margot Robbie.
Perhaps the most disappointing aspect of the film is the mummy's pie-in-the-face makeup and atrociously-visible zippered costume by George Partleton. He had less challenging jobs in FRANKENSTEIN CREATED WOMAN (1967), BERSERK (1967), GET CARTER (1971), A CLOCKWORK ORANGE (1971) and HOUSE OF THE LONG SHADOWS (1983).
THEATRICAL POSTERS
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| Andre Morrell |
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| David Buck |
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| Tim Barrett |
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| Michael Ripper |
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| Elizabeth Sellars and John Phillips |
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| Maggie Kimberly |
COLOR STILLS
BLACK AND WHITE STILLS
LOBBY CARDS
FAMOUS MONSTERS OF FILMLAND #46 (September 1967)
OFFICIAL TRAILER
FILM CLIPS
