The Eyes of the Mummy

Plot

In this early Ernst Lubitsch melodrama, Egyptian tour guide Radu and his young companion Ma run a elaborate scam on British tourists by offering fake tours of a mummy's tomb. Ma hides inside an empty sarcophagus and pretends to be the living eyes of the mummy, creating a supernatural spectacle that convinces visitors to part with their money. When the wealthy adventurer Wendland arrives for a tour, he discovers Ma's plight and becomes enchanted by her, ultimately rescuing her from Radu's control. Ma and Wendland fall deeply in love and flee Egypt together, but the vengeful and obsessed Radu follows them across Europe to reclaim what he believes is his property. The film culminates in a dramatic confrontation where Radu's obsession leads to tragic consequences for all involved.

Historical Background

The Eyes of the Mummy was produced during the final months of World War I and released just weeks before Germany's surrender. This period marked the height of German Expressionist cinema, though Lubitsch's style was more romantic and less overtly expressionist than many of his contemporaries. The film emerged during a time when the German film industry was experiencing unprecedented growth due to wartime isolation from foreign imports. The exotic Egyptian setting and themes of escape and transformation resonated with German audiences weary from years of war and deprivation. The film's production at Union-Film represented the consolidation of the German film industry into larger, more professional studios. This was also a period when German cinema was beginning to develop its own distinct visual language, moving away from theatrical conventions toward more cinematic storytelling techniques.

Making Of

The making of 'The Eyes of the Mummy' occurred during a tumultuous period in German history, with World War I ending during production. Director Ernst Lubitsch was already establishing himself as one of Germany's most promising young directors, and this film showcased his ability to blend melodrama with visual sophistication. Pola Negri, then just 20 years old, delivered a breakout performance that caught the attention of international distributors. The production team faced significant challenges due to wartime shortages, including limited access to quality film stock and lighting equipment. Lubitsch compensated by using natural lighting from studio skylights and innovative camera techniques. The chemistry between Negri and Liedtke was so genuine that Lubitsch encouraged them to develop their scenes improvisationally within his structured framework. Emil Jannings, already an established star in German cinema, brought theatrical intensity to his role as the villainous Radu, using his physical presence to create a menacing character without the benefit of dialogue.

Visual Style

The cinematography by Theodor Sparkuhl employed innovative techniques for the time, including dramatic lighting to create atmosphere in the tomb scenes. Sparkuhl used chiaroscuro effects to enhance the mysterious and supernatural elements of the story. The camera work was more mobile than typical for 1918, with Lubitsch encouraging dynamic movement to follow the characters' emotional journeys. The Egyptian sets were photographed to maximize their exotic appeal, with careful attention to shadow and light to create depth and mystery. The film featured several close-ups of Pola Negri, which was still relatively innovative technique in 1918, allowing audiences to connect with her emotional performance. The cinematography balanced the romantic scenes with soft, diffused lighting against the harsh, dramatic lighting of the tomb sequences.

Innovations

The film showcased several technical innovations for its time, including sophisticated set design that created the illusion of vast Egyptian temples within the confines of a Berlin studio. Lubitsch employed innovative lighting techniques to create dramatic shadows and atmosphere, particularly in the tomb scenes. The film's use of focus and depth of field was more advanced than many contemporary productions. The sarcophagus mechanism that allowed Pola Negri to appear and disappear was a clever technical solution that created the supernatural effect. The production also experimented with camera movement and angles that were more dynamic than typical static shots of the era. The film's editing rhythm and pacing demonstrated a growing sophistication in narrative construction that was ahead of many contemporary productions.

Music

As a silent film, 'The Eyes of the Mummy' would have been accompanied by live musical performance during its original theatrical run. The score would have been compiled from classical pieces and popular songs of the era, with theater organists or small orchestras providing mood-appropriate music. For the dramatic tomb scenes, composers typically used mysterious, minor-key pieces, while romantic scenes featured lighter, more melodic selections. The exact musical selections varied by theater and region, as there was no standardized score. Modern restorations have been accompanied by newly composed scores that attempt to capture the film's blend of melodrama and exoticism. Some contemporary screenings use authentic period music to recreate the original viewing experience.

Memorable Scenes

• The opening tomb tour sequence where Ma first pretends to be the mummy's eyes, creating a supernatural spectacle that convinces the tourists of the curse
• The dramatic rescue scene where Wendland discovers Ma's true situation and helps her escape from Radu's control
• The climactic confrontation in Europe where Radu's obsession leads to a tragic showdown between the three main characters

What Critics Said

Contemporary German critics praised the film for its visual sophistication and Pola Negri's magnetic performance. The Berliner Tageblatt called it 'a triumph of German cinematic art' while Film-Kurier highlighted Lubitsch's 'masterful direction and innovative visual storytelling.' When the film was released in America in 1920, Variety noted its 'unusual and gripping storyline' and predicted great things for both Lubitsch and Negri. Modern critics view the film as an important stepping stone in Lubitsch's career, showing early signs of the directorial style that would make him famous. The film is often analyzed in film studies courses as an example of early German melodrama and the development of visual narrative techniques in silent cinema.

What Audiences Thought

The Eyes of the Mummy was a commercial success in Germany upon its release in October 1918, drawing audiences eager for escapist entertainment during the final weeks of the war. The film's exotic setting and dramatic storyline resonated with viewers seeking distraction from wartime hardships. Pola Negri's performance created a sensation, and she quickly became one of Germany's most popular actresses. The film's international release was equally successful, particularly in Scandinavia and the United States, where it helped establish a market for German films. American audiences were particularly captivated by Negri's exotic beauty and intense performance style. The film's success led to increased demand for both Lubitsch's films and Pola Negri's performances, contributing to their eventual migration to Hollywood.

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