Very best movie i ever watch

the audience applauded

One of the worst ways to make a cult movie is to set out to make a cult movie.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

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.

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.

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.7.5/10

1943's "The Mummy's Ghost" was third in the Kharis series, second to star Lon Chaney in the title role, and was, like all its predecessors (including Karloff's 1932 original), included in Universal's popular SHOCK! package of classic horror films issued to television in the late 50s. An improvement on the listless "The Mummy's Tomb," Chaney's Mummy sports a different mask but actually shows more range, whether stalking a helpless victim like Frank Reicher (also back from "Tomb"), or recklessly shattering a glass museum exhibit, which resulted in a visible gash on the mummy's chin. John Carradine lends his exquisite sepulchral tones to Yousef Bey, High Priest of Arkham (Karnak having retired from shame), who leads Kharis to Manhattan's Scripps Museum to recover the mummy of the Princess Ananka, only to see the body disappear from its wrappings before their very eyes. Incredibly, by returning to Mapleton, they're able to find the girl now possessed by Ananka's reincarnated soul, who proves to be too much for Yousef to resist, forcing Kharis to eliminate the competition in typical fashion (apparently, Egyptian priests were never taught about the birds and the bees). Once again, we get stuck with a belligerent, unsympathetic 'hero' in Robert Lowery, so the climactic twist actually makes sense, the reincarnation theme successfully revived from Karloff's 1932 classic. Director Reginald Le Borg, a recent graduate from short subjects, worked well with Lon Chaney, continuing with "Calling Dr. Death," "Weird Woman," "Dead Man's Eyes," and "The Black Sleep." Deputising for the injured Acquanetta, Ramsay Ames proves sadly lacking, her Amina Mansouri registering as a total blank (she was little better as Chaney's unfaithful wife in her Universal finale, "Calling Dr. Death"). George Zucco contributes another welcome cameo (his last in the series), but Barton Mac Lane is woefully out of place in his only Universal horror, the dead end investigation trailing behind Lowery (this time, Kharis scrupulously avoids crowds). Look fast in the opening reel for Martha Vickers ("The Big Sleep"), previously seen in "Frankenstein Meets the Wolf Man" and "Captive Wild Woman." Next up for Chaney was the final entry, "The Mummy's Curse," which amazingly continued the upswing from the previous two, now set in the Louisiana bayous. "The Mummy's Ghost" made five appearances on Pittsburgh's Chiller Theater- May 7 1966 (following 1959's "The Angry Red Planet"), Feb 3 1968 (following 1956's "The Undead"), Mar 31 1973 (following 1969's "Attack of the Monsters"), June 19 1976 (following 1967's "Island of the Burning Doomed"), and Aug 13 1977 (preceding 1934's "The Man Who Reclaimed His Head").