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  • "The Mummy's Ghost" is a sequel to "The Mummy's Tomb" (1942). In that film Kharis the Mummy (Lon Chaney) perished in a house fire. Also the old high priest (George Zucco) dies of old age while handing over his powers to a new high priest. In this film we find out that not only did Kharis survive the fire unscathed but the old high priest turns up alive and shaking.

    This entry has the High Priest Yousef Bey (John Carradine) being assigned the task of going to America to retrieve the mummies of Kharis and his queen Ananka. Hero Tom Hervey (Robert Lowery) is courting a beautiful Egyptian by the name of Amina Mansouri (Ramsay Ames). Meanwhile Yousef Bey sets about arranging to take the two mummies back to Egypt. To this end he unleashes Kharis upon the community to murder anyone who stands in their way.

    At the same time Amina starts to experience blackouts as she is being gradually taken over by the spirit of Ananka (the "ghost" of the title) to become the re-incarnation of Queen Ananka. This suddenly becomes a point of issue between Kharis and Yousef Bey until......

    Becoming a "B" movie second feature series, the films did nonetheless benefit from Universal's expertise in making this kind of film. Although it features a "B" list cast and runs a scant 61 minutes, it is still an entertaining way to spend an hour.

    Lon Chaney would continue in the role of the Mummy in "The Mummy's Curse" (1944) the final film in the series.
  • The Mummy's Ghost is the third of four movies in the original "The Mummy" franchise.

    It follows on from the previous film and yet another high priest has risen our mummy (Played again by Lon Chaney Jr). Once again he is after the reincarnation of his original love. Trouble is this is the third time we've seen the same plot.

    I'm not saying The Mummy's Ghost is any worse than the rest, it's just the same thing.

    What it does have however is a very shocking and surprising finale that I found very entertaining. Movies from this time tended to be very predictable so this came as a surprise.

    For fans this will entertain, but it could easily have been a stand alone movie.

    The Good:

    Fantastic finale

    Well enough made

    The Bad:

    Some very hammy acting

    Things I Learnt From This Movie:

    Fainting was a big thing for women in the 1940's

    Mummy tantrums are hilarious

    Ancient egyptian bandages were bullet proof
  • Warning: Spoilers
    This is a definitely better movie than the previous Unviversal movie entry "The Mummy's Tomb", from 2 years earlier.

    The story and characters are better again this time. Although this doesn't mean that the actual story is really that much special but at least they definitely put some effort in it. It's of course a quite silly story and it gets sort of tiresome how they keep bringing back the mummy back to life time after the time, no matter how often they have killed him off already in the previous movies. Same goes for the Andoheb role played by George Zucco. But oh well, at least the story keeps the movie enjoyable to watch. There aren't really any slow or dull moments ever in this movie.

    The movie features both John Carradine and Lon Chaney Jr. again in the role of the mummy. They were both like THE Universal horror movies stars at the time. It's not that they roles are that interesting within this movie but nevertheless their presence is enough to uplifts the movie and makes it all the more enjoyable to watch for the genre fans of the Universal '40's movies.

    Unlike the previous Universal mummy-entries, this movie does not feature an happy end, in which our hero kills the mummy and gets back the back. This was quite surprising and also a reason why this movie is better than just the average and typical Universal '40's horror attempt.

    The movie has some good typical Unverisal '40's horror moments. Of course it's nothing too scary, at least not by today's standards but it's very classy and good looking all, with the use of shadows and some handy camera-work.

    A perfectly watchable mummy-entry.

  • tarzan6118 September 2001
    Lon Chaney doesn't say much to me as the mummy.The old high priest is still alive(yet again he thinks he's dying though)and he passes the job of feeding Kharis to one of his students again.This time their job has something added to it.Now they're going to get princess Annaka back to life.But along the way,they run into an unexpected suprise...........
  • This horror yarn gives new meaning to term " 'til death do us part." This was a real quickie movie and it shows. However, it's one redeeming value is the mummy finally wins the girl, albeit, it may leave one with that sinking feeling.
  • Warning: Spoilers
    Without being too nostalgic, my earliest memories of Universal Horror include the images of lovely Ramsay Ames rising out of her bed to follow the eerie shadow of Kharis out to her front yard, being carried off by the mummy and aging into a 3000 year old mummy herself, and sinking into a bog with her kidnapper as her boyfriend Robert Lowery and townspeople look on in shock. A vivid memory, and one in particular, because the lovely heroine did not reunite with her mortal leading man in the end, but rather joined the undead and opened the way for an interesting sequel later that year in 1944. Ramsay was 'discovered' by fellow Universal contractee Allan Jones at a Miami Beach nightclub and brought to Universal by same in early 1943. Ramsay, at that time, was the leader of an all-girl rumba orchestra, and did not fancy herself a leading lady, but took the opportunity at a movie contract in stride. Her first screen appearance was in the Olsen and Johnson comedy "Crazy House," where she played herself, shaking her maracas and singing "The Tropicana" as Tony and Sally DeMarco danced away. Her next appearance was in the first Inner Sanctum chiller "Calling Dr. Death", where, frankly, she was rather poorly directed by Reggie LeBorg, and while she shows signs of real nastiness as the adulterous wife of Lon Chaney, what appears to be outtakes of her laughing at Chaney in a key scene brings her whole performance down somewhat in that feature. In true Hollywood style, horror queen Acquanetta was being filmed for a scene in the newest Universal chiller, 'Mummy's Ghost', and as she 'fainted' for a scene, struck her head on a stone in the pathway she was being photographed in. Acquanetta, being seriously hurt (a concussion), Universal replaced her with Ramsay, and the rest is horror film history. Ramsay looked gorgeous in her satin nightgown, wandering the streets of Mapleton, Mass., and, being carried away in the climax. After a great role in the Universal 'B' 'Hat Check Honey' where she played bitchy movie queen Mona Mallory, Ramsay left Universal for Warners, but only scored bit parts in 'Mildred Pierce', and 'Green Dolphin Street.' A serial followed, and the Monogram quickie, 'Beauty and the Bandit,' but Ramsay was never featured again in a true golden age Hollywood Classic. A friend once described to me that Ramsay was the 'Girl that every mother wanted her son to marry.' Absolutely gorgeous, and with a touch of spice and mystery she is one of the true Hollywood beauties of the 1940's that created the image of the Hollywood Starlet.
  • Third in the Universal Kharis series, continuing after THE MUMMY'S TOMB (1942). Despite the increasingly familiar nature of these Mummy sequels, this one still has enough to make it brisk and enjoyable. A significant boost is added in casting John Carradine as the newest high priest who keeps Kharis (Lon Chaney) well fed and back on the march - this time with a new angle in trying to reunite the mummy with his princess Ananka, who is now reincarnated into the form of a sexy modern woman (Ramsay Ames).

    For some lucky reason, Chaney thankfully invests some character into Kharis this time, allowing him to become visibly angered, frustrated, and even saddened during the course of the movie. The biggest drawback for this chapter is that Robert Lowery and Ramsay Ames are pretty lousy as the two leading lovers. Universal stock music is used to great effect in many sequences, and there is an offbeat ending that may be the best one of the series.

    *** out of ****
  • This mummy film is one of a series of four produced by Universal Pictures in the 1940s--well after their original film starring Boris Karloff. While none of these films opened up a lot of new ground, they were good escapist fun--for kids and adults willing to suspend reality and have a good time. I personally LOVE these old Universal horror films--even the lesser ones like this film. This one's plot isn't so special (except once again the mummy somehow makes it to America), but it stands out due to the acting of George Zucco and John Carradine--two wonderful veteran horror actors who played up the campiness of the film and made it far more entertaining.

    The film looks a lot less impressive than the newest mummy films from Hollywood, but they still managed to be fun. Plus, the newer films, in my opinion, lack fun because they are so special effects-driven. See this film and have a good old fashioned time.
  • This movie will scare the pants off of children. I grew up in the 50's. Our house was on a semi-rural road overshadowed on one side by a thick forest. At the foot of the tall hill upon which stood our house there was a swamp. The nearest neighbor was a quarter mile away. To an adult eye, the evening view on a moonlit night was, I am sure, romantic. To a child, however, the scene was an empty vessel ready to be filled with imaginary images of fearsome things.

    One weekend night, my parents left me in charge of my two younger brothers. I put them to bed and sat down to see what could possibly be on TV. An hour or so later, I lay in bed, in the moonlight, in a pool of sweat, thinking about tana leaves and the possibility, however remote, that a pot of them might have been mistakenly left simmering on the stove. In my imagination, I knew he was out there coming for me. It didn't matter if he was miles away or just down the road. He knew who I was; he had taken a special interest in me. Up the moonlit road, step by step, limping along, relentless, unstoppable. Somehow I made it through the night but that mummy stayed with me for years and inspired many a nightmare.

    My point here is that horror films are designed to scare you. We pay money to get scared. This one will do the trick if you're 10 years old and you're all alone (or almost alone -- when you're surrounded by mummies, you really do need an adult). Nine stars.
  • Warning: Spoilers
    (Spoilers!) Yet another Egyptian high priest, John Carradine, is sent to America to utilize the still-living mummy Kharis, Lon Chaney, to bring the mummy of the princess Ananka back to Egypt. I consider this film an improvement over the first two sequels of 'The Mummy.' Why? God knows it isn't the plot, which is the third recycling of the theme of the priest falling in instant lust for one of his intended victims. I have two reasons for enjoying this film more than the first two sequels; the first is the performers, and the second is surprise. John Carradine gives a terrific performance as high priest. Every scene he appears in is worth watching. Additionally, Lon Chaney desperately tries to breathe a little life into his character, particularly at the end when he obviously objects to Carradine's plan for the young lady. However, it is the ending of the film that ultimately gives it some true distinction. The heroes fail to save the woman in jeopardy! She perishes along with the Mummy. That's a true rarity for an American film of the time.
  • utgard1412 February 2014
    The Universal mummy series takes a step down with each entry but they're all fun. This time high priest George Zucco sends John Carradine after the infidels. Lon Chaney, Jr.'s back as the mummy, despite seemingly dying in the last film (we never saw an actual death, to be fair). Carradine tries to get the mummy of Princess Ananka but discovers her soul has been reincarnated in the body of a young woman (Ramsay Ames). Robert Lowery plays the leading man and Barton MacLane plays a cop. Ramsay Ames is a beautiful leading lady. It's easy to see why Lowery, Carradine, and even Kharis are crazy about her. Maybe these sequels are a little repetitive, but they're good times for me. I love Universal horror films. The Mummy series are short, fun escapist adventures with horror and some romance added to the mix. This one isn't the best but it's entertaining. Surprising ending too!
  • "The Mummy's Ghost" is haunting and unforgettable thanks to the appearance of probably the most ravishing starlet to ever grace the screen: Ramsey Ames. She portrays the doomed Princess Ananka/Amina Monsouri heroine with a brooding, tremulous quality and when she sinks into the quicksand at the end with the mummy, you're shocked by watching her age into a 1000 mummy's bride. John Carradine is in great form as the high priest of arkham. Robert Lowery is unusually surly as the boyfriend. Reginald LeBorg directed this l944 classic. He originally wanted Acquanetta as the heroine but this sultry starlet fell and injured her shoulder on the first day of shooting. Ames was criminally ill-used by Universal but looked great in a short bob for the Republic serial, "G-Men Never Forget" in l947. Before she died two years ago from throat cancer, she remembered that Lon Chaney, who played the mummy, created many problems but she wouldn't specify. Other reports have it that Chaney was usually drunk by 12 noon. Ames was terrified he would stumble with her on the long, steep boardwalk to the remote shed and also into the swamp.wonderful atmosphere, classic musical scoring (originally from "Son of Frankenstein). Vera West does brilliant job in designing Ames beautiful white silk gowns.
  • MORD39 RATING: **1/2 (of ****)

    This third film in the "Kharis" series is one of the better efforts, thanks to a new storyline centering on the reincarnation of the mummy's lover into the body of a modern-day woman.

    John Carradine is on hand as the high priest who revives Kharis (Lon Chaney for a second time) and supplies him with tana fluid to keep him stalking. This chapter also features Chaney's best performance as Kharis, and you can definitely see his looks of sadness, frustration, and anger in key scenes.

    Ramsay Ames and Robert Lowery are weak as the leads, and they bring the evaluation of the movie down a notch.

    An easy 60 minutes of classic fun from Universal.
  • A "tough, old bird" may not be an apt enough description of George Zucco's high priest character in the Mummy series. Somehow, still alive and shaking, he passes on the priesthood of what is now referred to as "Arkham" to Yousef Bey (John Carradine) & once again feels the need to recap the mummy's life history, which has been altered since "Mummy's Tomb". Now the story goes that the once exalted Princess Ananka died an accursed death and that Kharis was buried with her. Now it's the task of Yousef to go to Mapleton and bring the royal dead of Egypt back to their homeland.

    Meanwhile, the wafting scent of tana leaves in the air attracts Kharis to the home of one Professor Norman. As Kharis shambles his way towards the cup of life, a young dish named Amina Mansouri (Ramsay Ames) gets a chance to show off her talents in filling out a nightgown as she sleepwalks her way to the very same house. Anyone else notice that black cat that ran in front of Ames during this scene? I believe that's called foreshadowing.

    The reincarnation angle from the original Karloff "Mummy" gets dusted off. The spirit of Ananka has left its mummified shell & taken residence in the body of Amina. Now Kharis must go about what must be for him a pleasant task of carrying off yet another woman clad in white (it's the only activity that gets his "dead" arm to work) and hope that another high priest won't succumb to any lascivious thoughts lurking in the back of his mind.

    But, that's not how things work out, for the life of an undead character stuck in repetitious sequels penned by unimaginative story writers is a hard one. The only merciful thing to do would've been to let Kharis & his Princess drown in eternal bliss, but the call of the box-office demanded one more sequel (Amon-Ra help us).
  • The "Mummy" films from the 1940s were never going to be as good as the 1932 classic and sure enough, they aren't.

    This one from 1944 is a slight improvement and is the best of the trio that Lon Chaney Jnr made. According to reports, this character was the actors least favourite and I can understand why.

    The film has a bit of incident and even a bit of atmosphere.
  • Warning: Spoilers
    Here we have the 3rd of 4 movies in Universal's Mummy series. You don't really need to describe the plot because I think it is pretty much the same in every one of these Mummy films. Mummy meets girl. Mummy and girl fall in love, violating the laws of Amon-Ra in the process. Mummy and girl are cursed and buried for thousands of years. Mummy is woken up by rude explorers. Mummy kills explorers. Mummy tries to reunite with girl, who is now a pile of moldy rags.

    MUMMY'S GHOST takes place in poor, little Mapleton Massachusetts. Kharis has been presumably just wandering around the countryside like a dirty hippie since the end of the last mummy movie. When a professor brew up some nice Tana leave tea Kharis comes running (in a manner of speaking) like a hungry hound at chow time, kills the Prof. and guzzles down the tana tea. At the same time, yet another high priest is skulking about trying to get Kharis and Ananka, who is cooling her moldy heels in the local museum, back to Egypt. But you know how it goes with mummies. One thing leads to another and the high priest realizes that Ananka's soul resides in the body (meeOW) of a local girl, Amina Mansouri. He starts out trying to kill Mansouri in order to free Ananka's soul so it can return to her old mummy body (EWW!) but decides to keep her for himself and nuts to Kharis and the laws of Amon-Ra. Well sir, Kharis doesn't much cotton to this idea and he throws the high priest out a window and over a cliff. He then grabs Mansouri and carries her into one of Massachusetts many, many swamps where he and the rapidly aging Mansouri/Ananka sink into quicksand.

    Lon Chaney does a great job as Kharis. He actually manages to convey some emotion through the make-up, and there are a few times when the mummy is portrayed as a relentless, unstoppable juggernaut of destruction. There is a tiny bit of humor and more suspense than I was expecting . I found the Mummy's Ghost especially interesting in the way the townspeople were so accepting of the fact that a mummy was loose in their town. They gathered together, rather calmly to discuss how they were going to deal with it. I guess it just shows the scrappy attitude of people in that day when they can just comfortably roll up their sleeves and go out on a mummy hunt, as if they were going out to trap gophers . Mapleton is one Bad a$$ town.

    There is nothing classic about this movie, it was made quickly and cheaply and it shows. But it gives you what all b movies should: an hour or so of decent, escapist entertainment.
  • Warning: Spoilers
    Copyright 31 December 1943 by Universal Pictures Co., Inc. New York opening at the Rialto: 30 June 1944. U.S. release: 7 July 1944. U.K. release: 2 June 1947 (sic). Australian release: 6 July 1944. 6 reels. 5,499 feet. 61 minutes.

    SYNOPSIS: Sequel to The Mummy's Tomb starring Chaney junior as the mummy. Since Turhan Bey failed in the previous movie, Egyptian priest Zucco sends John Carradine to New England to help the mummy find his princess. This time a young college co-ed played by Ramsay Ames is the Ananka look-alike.

    NOTES: Number four of the seven-picture "Mummy" series.

    COMMENT: The story continues on from The Mummy's Tomb (1942). The mummy it appears was not destroyed in the fire after all, but only disfigured - if you can imagine a mummy being disfigured, though his one eye is rather frightening. Lon Chaney is so completely swathed in bandages as to be unrecognizable - any stuntman or cheap double could have done just as well. Robert Lowery is a rather wet hero, though Ramsay Ames makes a rather fetching heroine and there is a solid cast of character players.

    Le Borg's direction is much, much more stylish than his usual humble standard. Some of the sequences are compellingly stated and good use is made of natural locations at the climax. The film looks well-produced though Sickner's photography lacks the atmosphere that Woody Bredell would have brought to the film. The eerie effects are mainly achieved through Jack Pierce's skilled make-up and Salter's well-thumbed musical compilation of standard Universal "B"-picture themes.

    There is more than a hint of blasphemy in the script's adaptation of King James-type prayers to pagan identities such as Amon-Ra and it's odd that this was deemed acceptable by the supposedly strict censors of 1944.
  • Warning: Spoilers
    Not all love is lost. Reginald Le Borg direct this tale of the High Priest (George Zucco) summoning Yousef Bey (John Caradine) to New York's Scripps Museum to retrieve the ancient love interest, the Princess Ananka, from her resting place along with the insane mummy Kharis (Lon Chaney Jr.). Bey finds the soul of the princess has been reincarnated as a beautiful Egytian exchange student named Amina (Ramsay Ames). An Egytlogist professor (Frank Reicher) has been carrying out experiments and the jealous Kharis makes his appearance. As the charming student goes into strange trances, the professor is killed and the mummy makes haste with the rapidly decaying reincarnation.

    Other players: Robert Lowery, Barton MacLane, Lester Sharpe and Harry Shannon.
  • This film series does not include Universal's and Karloff's The Mummy (1932). This particular film series starts with 'The Mummy's Hand (1940), 'The Mummy's Tomb (1942)' and then this third film 'The Mummy's Ghost (1944).

    What is nice about this series, it picks where the last film leaves off. They always give a little background on the previous which helps when the films are 2 years apart or if you simply find yourself watching one of the films one night on TV.

    The ghost in this film is not that of Kharis but the long dead Queen Ananka whom you will see slowly entering and taking over Amina Mansouri. It makes for an entertaining mummy film.

  • lugonian4 November 2007
    THE MUMMY'S GHOST (Universal, 1944), directed by Reginald LeBorg, marks the return of Kharis, the living mummy, for the first time on screen since THE MUMMY'S TOMB (1942) where he met his doom in a blaze of fire in the Frankenstein monster tradition. He lives again (with no explanation on how he survived) in another venture set on American soil in a college town ten years after his last stalk.

    In THE MUMMY'S TOMB, Mehemet Bey (Turhan Bey) was assigned by the aged High Priest Andoheb (George Zucco) as the new guide for Kharis. After failing on his mission, THE MUMMY'S GHOST starts off its new chapter in Egypt where the High Priest assigns Bey's son, Yousef (John Carradine), a high priest of Arkhom, to undertake the new assignment by going to the New England town of Mapleton where Kharis still lives, and bring him, along with the mummy of Princess Ananka, whose remains are displayed at the Scripps Museum, back to their final resting places in Egypt. In the meantime, Matthew Norman (Frank Reicher), a college professor of Egyptology, lectures his class of the mummy that terrorized the town years ago. One of his students is Amina Mansori (Ramsay Ames) of Egyptian ancestry, engaged to Thomas Harvey (Robert Lowery), another student. As Professor Norman experiments with the tana leaves associated with Kharis, this restores him to come over and strangle the professor to death. Because Amina was nearby when the murder took place, and not knowing how she ended up on his grounds, she is automatically linked with Norman's murder. After Yousef Bey and Kharis break into the museum to retrieve the body of Princess Ananka, Kharis touches the preserved body only to have it crumble into a pile of tattered bandages. (At that very moment, Amina awakens from her sleep to the horror of feeling that someone has touched her). With Ananka now living in another form, it is revealed that Amina is the reincarnation of Ananka. (Take notice that the reincarnation of the princess is borrowed from the 1932 version of THE MUMMY starring Boris Karloff). After Amina is abducted and taken to a secluded building where Bey is to perform the sacred rites, Kharis carries her away as he is pursued by the villagers while the young girl slowly ages into a centuries old woman, to startling results.

    While he stories tend to repeat themselves by this time, making it hard to determine which Mummy movie was which, THE MUMMY'S GHOST, another one of Universal's attempt in keeping their studio monsters alive with its endless series of cut-rate sequels, is in fact, a pleasant surprise as being by far the best in the entire series, thanks to its straightforward story and very creepy scenes. And if this is not the best, then an improvement over the others. Lon Chaney Jr. is offered little or no opportunity in adding more than he already has with his character, bandaged head to toe, dragging his one leg and walking slowly, having the strength to stretch out his one arm and kill. In addition to the series is police inspector Walgreen (Barton MacLane) investigating the murders with questions in the traditional detective movie mystery fashion. There's also a cute little dog named Peanuts adding some light touches to the story. Regardless, THE MUMMY'S GHOST (what ghost?) is a very effective production that should not disappoint horror movie fans.

    Formerly shown in the 1990s on the Sci-Fi Channel during its "Mummy's Day" festival in October for Halloween, and American Movie Classics (2000-2002), this, and other Universal monsters, can be found on video cassette or on the current DVD format. Next installment: THE MUMMY'S CURSE (1945).(***)
  • In The Mummy's Hand, George Zucco's Egyptian High Priest character very definitely was shot four times, and fell down a flight of stone steps and died. In The Mummy's Tomb, he supposedly was only shot in the arm once in the last film, but he died in this one from old age, having fulfilled his priestly responsibilities by passing on the mantle. He's back again here, inexplicably. Here, he doesn't die, which is funny since he doesn't return for the next film.

    The Mummy's Ghost takes places, like The Mummy's Tomb, thirty years after The Mummy's Hand. If that film took place in 1940, this film should be set in 1970, but as in Tomb, no effort is made to create the appearance of it being set in the future.

    The mummy was shot and burned in Hand, shot and burned in Tomb, and yet he's back again in this one, his bandages not even singed. In fact, he's even got his left eye back, when in Hand it was all black and in Tomb a crusty mass. Where's the script girl!?

    In this one, a young university student is dating an Egyptian named Amina. A priest is sent from Egypt to retrieve Kharis and Ananka's bodies. As in Hand, Kharis can be lured by Tana leaves, something they forgot in Tomb. However, Ananka's body collapses when touched, and she is somehow reincarnated into Amina. She seems unaware of this, apart from getting a white streak in her hair that spreads.

    Another odd change is that the priests are priests of Arkam now, rather than Karnak.

    This wasn't terribly good, though it does have a somewhat bold tragic ending. At only an hour long, it's not a waste of time at least.
  • pmtelefon23 October 2019
    Warning: Spoilers
    "The Mummy's ghost" is a good one. Even though it had a pretty low budget (I'm guessing), it has a pretty good look to it. It has a couple of campy moments to it but only a couple. Mostly, it is a nice little suspenseful movie. What makes "The Mummy's Ghost" stand for most of the other horror movies from its time period is the last ten minutes or so. Wow, it's a humdinger. No matter how many times I've seen this movie I never see it coming. It's a gutsy/shocking ending and I totally dig it.
  • Hey_Sweden14 October 2017
    John Carradine plays an Egyptian high priest named Yousef Bey, commanded by a superior (George Zucco) to travel to America to locate Kharis (Lon Chaney Jr.) and properly lay him to rest. The current reincarnation of Kharis' long ago beloved Ananka is Egyptian born New England gal Amina Mansouri (the incredibly lovely Ramsay Ames), and Kharis will seek to be reunited with her. Aminas' boyfriend Tom Hervey (Robert Lowery) and the cops & local townsfolk end up giving chase.

    Although completely lacking in suspense and atmosphere by this point, this series still manages to provide a decent amount of fun. Chaney shambles his way through his role capably, sporting yet another impressive makeup job by talented Jack Pierce. Carradine is terrific as always. Also among the solid supporting cast are Frank Reicher as the doomed Professor Norman, Harry Shannon as the Sheriff, Lester Sharpe as the helpful Doctor Ayad, and the always welcome Barton MacLane as a clever police inspector who tries to come up with an alternative means of dealing with the mummy on the loose. An adorable little dog named "Peanuts" has his moments, as well. Martha Vickers has a bit as a student in Reichers' class.

    The story is pretty routine, for the most part, until that unforgettable and haunting ending. Director Reginald Le Borg keeps it moving along adequately, to help it clock in at an appreciably brief running time of 61 minutes.

    Six out of 10.
  • Warning: Spoilers
    Jaunty music accompanies cartoon style credits over a backdrop of hieroglyphics, which indicates this is not going to be an exercise in particularly dark horror. We open with a clip from the previous film in this series, of George Zucco, his back to the camera, travelling up many stone steps to a secret temple. As it is, for the purposes of this film, we are required to believe it is actually John Carradine's Yousef Bey ascending the stairway. George Zucco is actually inside the temple, his character Andoheb explaining the Mummy's story from previous outings, with the help of further repeated clips from those excursions.

    The sequels to the original mummy (1932) are so similar they fall into 'this is the one with …' categories. 'The Mummy's Hand' 'was the one with' Tom Tyler in the titular role, and its follow-up 'was the one with Lon Chaney Junior's first outing'. Sadly, this one is 'the one with' Robert Lowery as the 'hero', Tom Hervey: truly the most objectionable, obnoxious character in any Mummy film up until the Brendan Fraser caricatures begun their spiel in 1999. What a cocky, arrogant fellow he is. This member of the audience is instantly on the side of Kharis, who is resurrected once more, without much fanfare to stumble through Universal's back-lot to find his Princess Ananka (Ramsay Ames).

    I sound unnecessarily harsh towards 'The Mummy's Ghost', but despite the above (and the reuse of stock music from other Universal horrors/clumsy day for night shooting), its familiarity is reassuringly enjoyable. We know what we're going to get from a Mummy film by this time – and we do. Of Chaney's outings as the monster, this may be his most powerful. From behind Jack Pierce's mask and wrappings, he injects some emotion into his hated Kharis (although Pierce's mask crumples like a Cabbage Patch Kid when the monster is seen to scowl). It is rumoured during Kharis' raging attack on the night-porter (Oscar O'Shea) in the Scripp's museum, that Chaney actually slammed the old man into a real pane of glass, smashing it and injuring O'Shea. Alcohol has not been ruled out.

    There's an amusing bit of business where the locals, lead by Barton MacLane's cranky Inspector Walgreen, cunningly fashion a disguised pit in which to topple the Mummy, who doesn't even notice and (slowly) walks straight past!

    Cocky Tom's girl Amina (Ames) is slowly transforming into the putrefying Ananka, which is a welcome inclusion into the plot, but the gradual whitening of her hair goes unnoticed by others throughout, stretching credulity somewhat. Her total transformation into a Mummy as Kharis carries her into the swamp at the end is a certain high-point, and a surprising unhappy ending, although at least she has been spared a life of married bliss with Hervey.
  • The Mummy's Ghost is the third in the "Kharis" the Mummy series and Griffin Jay's script is more or less a rehash of the same old lady in distress plot line of the first two with a twist ending that is a grabber.Director Reggie LeBorg was Chaney's buddy and knew Lon would be pretty well crooked when the lunch break was over, particularly when Lon was in his mummy makeup. Jack Pierce got very tired of Lon's constant gripping and moaning about it. There is a story that LeBorg told about the scene where Kharis strangles Prof Norman. Frank Reicher was one of Hollywood's most respected character actors. When the scene started rolling, Chaney went charging in,grabbed Reicher by the throat and pushed him into the wall. Chaney had been hitting the bottle and was pumped. When Chaney broke off, Reicher screamed "He almost killed me!" and proceeded to verbally ream Chaney a new one, calling him unprofessional and stupid. Chaney just sat there in his mummy makeup muttering an apology and shivering in shame. Chaney's glass breaking scene when Ananka's mummy dissolves is yet another legend. Again he fortified himself with some Jack Daniels and did the whole scene himself without a stuntman. He cut his chin under his mask on a shard of glass, you can see the blood at the end of the scene.

    Acquanetta had been originally cast in the Amina/Ananka role but she injured herself on the first day of shooting. Ben Pivar claimed, however, that LeBorg had demanded that she be replaced during rehearsals because of her poor acting. Anyway, the beautiful Ramsay Ames was thrown into the part with just a few days notice, which may account for her confused most of her scenes. Ramsay had been hired to appear in musicals because of her singing and dancing talent but Universal kept casting her in horror and mystery films. Robert Lowery was way too old to play a college student and wasn't happy about being cast in the movie. He seemed to have a "lets get this thing over with attitude" throughout the film.

    The plot holes and lack of continuity in the Mummy series are well known and have been pointed out in many knowledgeable sources. Kharis is a killing machine and not a sympathetic creature as some of the other Universal monsters are. His tendency to kill senior citizens is yet another reason not to root for him. Watching The Mummy's Ghost isn't the worst way to spend an hour and is essential if your are following the series.
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