1999 was such a loaded year for movies that “The Mummy” seemed like a middle-of-the-road entry among tentpole films, one last May appetizer – and chance to see the trailer — before “The Phantom Menace.” But as time goes by, films get judged by if they are matched or surpassed.
It’s not a stretch to argue that there hasn’t been a better Universal Monster movie since “The Mummy,” so people are increasingly going back to it. There is even buzz about a legacy sequel, “The Mummy 4.” Itself being a remake of the 1932 original, this epic from writer-director Stephen Sommers (“Deep Rising”) is like a serviceable basketball player who gets in a zone and suddenly can’t miss.
It doesn’t start off as anything all that special — maybe “Indiana Jones” Lite with CGI – but it gradually becomes rather loveable. It threads a needle wherein technically the actions of the heroes are borderline at best – they don’t even use the “It belongs in a museum” caveat – but it’s so much in the fun zone that things like that don’t matter.
“The Mummy” (1999)
Director: Stephen Sommers
Writers: Stephen Sommers (screenplay, story); Lloyd Fonvielle, Kevin Jarre (story); John L. Balderston (1932 screenplay)
Stars: Brendan Fraser, Rachel Weisz, John Hannah
‘Mummy’ dearest
Adventurer Rick O’Connell is unambiguously in it for the wealth, but combine a cad on the page with the likeability of Brendan Fraser and you hit the sweet spot. Academician Jonathan is more bluntly in it for the money, but John Hannah is naturally likeable too. Jonathan’s sister, Evy (an adorable Rachel Weisz), is proudly a librarian.
The cast is deep: Kevin J. O’Connor’s Beni is an opportunist who bounces among every faction, Arnold Vosloo is an imposing Imhotep, and the various other groups vying to find the lost city are filled with alpha males and scholars who could be leading their own movie if we focused on them.
“The Mummy” is able to skirt the edge of political correctness by being set in the 1920s, roughly the time of the original films. Though it relies on some cultural stereotypes, it respects individuals. It’s sort of like “The Princess Bride”; everyone is a lived-in and noble character, such as Oded Fehr as the Egyptian in charge of stopping people from raiding the tomb, lest the Mummy be unleashed.
The mix of chases, gunplay, humor and romance in this old-fashioned epic becomes appealing. Though Fraser doesn’t totally convince me he’s an action star rather than a loveable lout, he has great chemistry with Weisz (although granted, maybe she’d have great chemistry with anyone).
The CGI is, admittedly, recognizable as CGI. If “The Mummy” had used 100 percent practical effects it would be better … but also more expensive. I forgive it. Sometimes soundstages look like soundstages. Again, I forgive it; if the film doesn’t totally transport me to 1920s Egypt, it at least transports me to 1920s filmmaking version of Egypt, with a touch of 1999 special effects. By the time he says “That’s a wrap,” I’ve been lured into Sommers’ world of fun, throwback cinema. And time has shown movies like this aren’t so easy to accomplish.