Although this is typical of the era, it's still wrong: When Ananka rises out of the swamp, she goes into a pond to wash off the dried mud. Afterwards, her hair is perfectly coiffed and her face is completely made up: plucked and penciled eyebrows, eye shadow, eyeliner, mascaraed eyelashes and of course lipstick. See more »
It's as though I were two different people. Sometimes it seems as if I belong to a different world. I find myself in strange surroundings with strange people. I cannot ever seem to find rest! And now Kharis!
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Coming after THE MUMMY'S GHOST, this limp and repetitive last entry in the Kharis series may be the weakest of all four, and it's kind of gratifying that Universal finally stopped the cookie cutter here. It's by no means awful, but by now there's a severe case of "been here, done that" festering about and there isn't much new to help us along. Lon Chaney merely goes through the motions to get his paycheck and gives the most listless of his three mummy performances. Peter Coe takes the award as the worst high priest, but Martin Kosleck is an okay choice as his treacherous assistant even though he isn't given enough to do. The script is little more than a plodding chase which has the clumsy Kharis always coming within inches of seizing his beloved princess, only to narrowly miss her time and time again as she manages to escape from his grasp.
One redeeming quality is Virginia Christine's first appearance as the reincarnated Princess Ananka. Her resurrection sequence from a muddy swamp is not only the high spot of this picture, but it's one of the best in the entire saga. By the way, what's interesting is that if keen viewers of THE MUMMY'S HAND recognized from a quick hotel receipt shot that the story began in 1940, and then you add up the "30 years" later of THE MUMMY'S TOMB & THE MUMMY'S GHOST, and top it off with the "25 years later" of THE MUMMY'S CURSE, you'd see that this entry would take place in 1995 ... !?!?
** out of ****
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