Unbeknownst to many in the West, Egypt once produced some of the most astounding, polished films of the middle 20th century, from thrillers to comedies to romance. It’s time to become more familiar with the golden age of Egyptian cinema. … Continue reading Welcome to Cairowood: A Guide to Egyptian Cinema’s Golden Age
Many films focus on the glamour of the modeling industry, but it seems that it’s only the horror genre that concerns itself with its dangers. Movies like Horror of Spider Island and Bloody Pit of Horror have shown us how, time and again, models and those charged with tending to them have been called upon to place themselves in harm’s way, like soldiers at the front. And perhaps no more credible presentation of that reality can be found than in 1981’s Dawn of the Mummy — even if that film also asks us to believe that an American fashion magazine would bankroll a whole crew traveling to Egypt just to shoot dresses that look like old lady nightgowns.
Ahh, Sangster and Fisher. If you want my opinion, and you must or else you’d go read a much better website that this, that screenwriter-director team is as integral to the success of the Hammer horror films as the Cushing-Lee acting team. When you make a list of the best films Hammer produced, the Fisher-Sangster duo comes up quite frequently. The whole quartet is at it again with this, Hammer’s third reimagining of a classic Universal Pictures horror icon. By now, there was no real gamble involved in the Hammer formula. Curse of Frankenstein and Horror of Dracula had proven the effort, and Hammer’s only challenge now lie in maintaining the high standards set by those two films. With two Universal legends left, those being the mummy and the Wolfman, Hammer decided to go all old Egypt and bring the bandaged avenger of desecrated tombs into the Technicolor world of Hammer horror.