Of the boy-child, now presumably grown to adulthood, we get no sight. An uncommonly beautiful woman is threaded into the action, a seducer and murderer of mysterious origin. The narrative then jumps ahead 20 years or so, and we pick up the story of how sacred Egyptian artifacts are being brought to America for an exhibition that would put the Tutankhamen exhibit to shame. In the first scene, a strange boy-child is born, under circumstances-high howling winds and a ferocious thunderstorm-that suggest something unnatural is afoot. “We had one particular narrative hook that we were very proud of. It made the Mummy story over for the late 20th century, not in terms of its effects-this was before CGI brought its dubious gifts to the process of horror filmmaking-but in terms of content. It’s obvious to see why Universal wouldn’t run with it, unfortunately, but it would have been an amazing and unique metaphysical horror film if they had.īarker explained his take in an interview with Fangoria: “ Looking back, our version of THE MUMMY was precisely what the powers that were at Universal did not want. As Barker and Garris discussed their story in more detail, however, the project sounded kind of amazing.
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