Alicia I love this movie so much

Infamousta brilliant actors, brilliant editing

Marva-nova Amazing worth wacthing. So good. Biased but well made with many good points.

Jerrie It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

JohnHowardReid 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.

Nigel P 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.

utgard14 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!

AaronCapenBanner Lon Chaney Jr. returns as Kharis the mummy, once again brought back to murderous life by another young priest(played by John Carradine) who was sent by a dying Andoheb(George Zucco for the last time). The mission this time is to retrieve the body of Princess Ananka, but upon breaking and entering into the Scripps Museum, they find that her body has disintegrated, meaning she has since reincarnated, quite conveniently in a local college student played by Ramsey Ames, though her boyfriend is determined to save her from her inevitable fate. Frank Reicher returns as a college professor from the previous film, who is now dispatched by Kharis after brewing a batch of the life-sustaining Egyptian leaves that keep Kharis alive. Only the quicksand finale distinguishes this contrived and ineffectual entry in any way.