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Fantastic!

A brilliant film that helped define a genre

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Worth seeing just to witness how winsome it is.

In the late 1910s, while Hollywood was focusing mostly on serious contemporary drama, their soon-to-be significant rivals in Berlin were turning more towards adventuresome flights of fancy. Myth, fantasy, exotic lands and a touch of horror were the hallmarks of German cinema. Although better known for his unique comedies, director Ernst Lubitsch was nevertheless a capable and versatile craftsman, and at this stage was at the forefront of the Germanic style.The approach to these pictures was all about space, and for Lubitsch the most important aspect of space appears to be depth. A lot of the movement in Die Augen der Mumie Ma is towards or away from the camera. Of course, Griffith and many others in the US had been doing this for years, but Lubitsch actually shuns horizontal movement, and his pictures seem designed to accommodate movement in depth. Often there is a large empty space behind the actors, or a doorway at the back of the set leading to another room. The bric-a-brac of Kurt Richter's elaborate set design tends to be concentrated at the sides of the frame, creating a kind of tunnel effect in some scenes.What is the point of all this? Well, I think first and foremost it was probably just a style that appealed aesthetically to Lubitsch and Richter, and there is no shame in that. Nevertheless it is one that they could use to great effect. Emil Jannings often appears to be advancing eerily upon us, while good guys Harry Liedtke and Pola Negri disappear worryingly away from us. In the few shots where the actors are backed up against a wall with no space behind them, for example in the flashback where Jannings first brings Negri to the tomb, the sudden change is palpable, in a nastily claustrophobic way. And depth plays a part in all the most chilling moments, such as Jannings appearing in a mirror at the far end of the room. We simultaneously see him in the distance yet are aware he is actually behind the camera, and thus behind "us". These are all moves towards a more interactive cinema, in which the audience are not merely external observers, but feel they are enveloped in the film's world.Die Augen der Mumie Ma is also notable for early performances by two giant figures of German cinema, the aforementioned Emil Jannings and Pola Negri. Like Lubitsch, Jannings's area of expertise was comedy, and his Radu is a hammy caricature. But Jannings's hamming was of a good sort, and just as his excessive mannerisms could make us laugh in pictures like The Merry Jail or Faust, here they come across as grimly macabre. Negri too is a little hysterical at times, but in fact far less so than many leading ladies of German cinema, and most of her performance is refreshingly restrained, comprised of slow, delicate movements.If there is anything significantly wrong with this picture, it is its naïve silliness. For example, Jannings is taken to Europe to become Hohenfels's manservant, and yet still potters about the prince's palace in his native garb, clutching his dagger and muttering about getting revenge on the woman who wronged him, whereupon the prince pats him amiably on the shoulder as if to say "There, there old chap". Mind you, it would probably have looked equally ridiculous had the murderous Radu been given a haircut and shoehorned into a butler's uniform. Such moments are an unintentional source of humour for me, so I don't regard them as so much of a bad thing. It goes without saying that screenwriter Hans Kraly was another collaborator on this picture whose main field was comedy, and he was most adept at creating romantic fables for fast-paced farces, a genre that doesn't exactly demand logic and cohesion. And yet, in the hands of Lubitsch, Jannings and Negri, Die Augen der Mumie Ma becomes an atmospheric and reasonably entertaining short horror adventure.

I never expected to see a horror film directed by Ernst Lubitsch and, while this has been touted as such and is even listed in genre-related books, it's nothing of the kind…and that makes it doubly disappointing for an all-round film-fan like myself! Actually, I've seen little of the director's work made in Germany (which includes only one major title, MADAME DUBARRY [1919], also starring Pola Negri and Emil Jannings) and none of his American Silents – which means that, to me, Lubitsch has always been a master of the Talkie medium, so, bear than in mind…Anyway, the title is indeed incidental to the main plot which, once again, concerns the vicissitudes of a romantic triangle (Jannings, Negri and Harry Liedtke) which can only end in tragedy. Jannings and Negri are Egyptians involved in a scam milking tourists out of their money, by having the girl lend her eyes to the "mummy" from inside an empty sarcophagus! When a British lord and adventurer comes to visit, she falls in love and leaves with him to England. Needless to say, Jannings – who, naturally, has feelings for Negri himself – follows them (conveniently in the employ of another English aristocrat and friend to Liedtke) in order to exact his revenge. While the plot offers no surprises (except, maybe, the fact that Jannings has a Svengali-like hold on Negri), it's also rather ordinarily handled; indeed, here one finds scarcely any evidence of the much-renowned "Lubitsch" touch!To be fair to the film, the famed Curse of King Tut's Tomb hadn't yet taken place (that was in 1921) – so, in all probability, the film was never intended as a horror film at all. Anyway, Jannings – who's always worth watching in a larger-than-life manner – is the best thing about the entire film…but the melodramatic acting of Negri, a great star of the period, has dated badly and, indeed, she seems to do little throughout but faint!! As a matter of fact, as a means of amusing myself to counter the tedium of the film itself, as I was watching I imagined the actress discussing the shooting schedule with her director:Negri: "What's on the schedule for today, Ernst?" Lubitsch: "You faint!"The next day.Negri: "What's on the schedule for today, Ernst?" Lubitsch: "You faint!" Negri: "Oh…"The next day.Negri: "Er--Ernst, do I get to faint today as well, by any chance?" Lubitsch: "Er…I'm afraid so!"

I really had high hopes for this one. UFA produced this one, and most ufa films I've seem have been great. And with Emil Jannings I expected much more. But what I got was a bore. I did a crossword puzzle while I watched it. The acting was bad. The story was boring. And the whole movie was just blah. And where was the mummy? I can't believe this movie is considered horror.

What an egregious waste of talent!! It's poorly acted, indifferently directed, and badly written; too bad THIS film survived when so many other more worthy silents didn't! It's hard to believe this was made in 1918--technically and artistically, it's more like 1909. This is the sort of film you should definitely NOT show to someone unfamiliar with silent film, as it confirms every awful stereotype about them--clownish makeup, hammy gestures, and cheesy plot--and, it's boring to boot. The great Emil Jannings looks more like Othello in search of Desdemona instead of an Egyptian in search of his captive, and this time his habitual overacting is annoying rather than bravura. And, you have to be a pretty maladroit filmaker to take Pola Negri, with her angular Gypsy beauty, and make her up to look like a pint-sized Little Egypt. Take it from a die-hard silents fan who will watch ANY silent film, simply because they are silent: skip this one.