The Ghoul

Plot

Professor Henry Morlant, a wealthy British Egyptologist obsessed with ancient Egyptian beliefs about immortality, makes a deathbed pact with Anubis, promising to return from the dead if his servants place a sacred jewel known as the Eternal Light in his tomb. After Morlant's death, his greedy heirs and servants descend upon his estate, with most seeking to steal the valuable jewel for themselves. As Morlant's body is prepared for burial according to ancient Egyptian rituals, various characters including his loyal servant Kaney, his nephew Ralph, and a mysterious woman named Betty all have their own designs on the jewel. When the jewel is stolen from Morlant's tomb, the professor rises from his grave as a vengeful mummy-like creature, stalking the mansion and grounds to recover the sacred object and punish those who have betrayed him. The film culminates in a series of terrifying encounters as Morlant exacts his supernatural revenge, revealing that some of the characters may not be what they seem.

Historical Background

The Ghoul was produced during the early years of the sound era in British cinema, a period when the British film industry was struggling to compete with Hollywood productions. The early 1930s also saw the rise of the horror genre as commercially viable, following the success of Universal's horror films in America. The film reflected the Western fascination with Egyptology that had been sparked by the discovery of Tutankhamun's tomb in 1922, which remained a cultural phenomenon throughout the decade. The Great Depression was affecting film production worldwide, making expensive productions like The Ghoul risky ventures. The film also emerged during a period when British censorship was becoming more stringent, particularly regarding horror content, reflecting concerns about the psychological impact of frightening films on audiences.

Making Of

The production of The Ghoul was marked by several significant challenges and innovations. The film's elaborate Egyptian tomb sets were constructed at Shepperton Studios under the supervision of art director Wilfred Arnold, who studied actual Egyptian tomb designs to ensure authenticity. Boris Karloff, already established as a horror star from Frankenstein, brought his own expertise to the makeup design, working closely with the British makeup artists to create a different type of undead appearance than his Frankenstein monster. The film's sound recording was particularly challenging, as the actors had to perform in heavy makeup and costumes while delivering lines clearly in the early sound recording environment. Director T. Hayes Hunter, unfamiliar with horror, reportedly relied heavily on Karloff's experience with the genre. The production also faced difficulties with British censors, who objected to several scenes involving grave robbery and supernatural elements, requiring multiple revisions and cuts to secure exhibition approval.

Visual Style

The cinematography by Arthur Edeson and Günther Krampf was notable for its use of dramatic lighting and shadow to create Gothic atmosphere. The film employed extensive use of chiaroscuro techniques, particularly in the tomb and mansion sequences, to enhance the supernatural elements. The camera work included innovative tracking shots for the period, especially during Morlant's stalking sequences through the mansion. The cinematographers made effective use of the limited lighting available in early sound stages, creating deep shadows that became hallmarks of the horror genre. The film's visual style was heavily influenced by German Expressionism, with its distorted angles and dramatic use of light and shadow.

Innovations

The Ghoul featured several technical innovations for British cinema of the period. The makeup effects for Karloff's transformation were particularly advanced, using newly developed rubber prosthetics that were more flexible than earlier techniques. The film's special effects, including the rising from the grave sequence, utilized a combination of mechanical effects and careful camera work that was innovative for the time. The sound recording techniques employed were advanced for British studios, with particular attention to capturing atmospheric sounds without dialogue interference. The film's set construction techniques for the Egyptian tomb were groundbreaking, incorporating movable sections for different camera angles. The production also pioneered certain lighting techniques that would become standard in horror cinematography.

Music

The musical score was composed by Louis Levy, who was one of Britain's leading film composers of the early sound era. The soundtrack made innovative use of diegetic music, particularly during scenes involving the Egyptian tomb rituals. Levy incorporated exotic musical elements to enhance the Egyptian setting, using unusual instrumentation for the period. The film's sound design was particularly advanced for its time, with effective use of ambient sounds to create atmosphere. The musical cues were synchronized closely with the on-screen action, a relatively new technique in early sound cinema. The score emphasized low, ominous tones during supernatural sequences, establishing musical conventions that would influence later horror film scoring.

Memorable Scenes

• The opening deathbed scene where Professor Morlant makes his pact with Anubis and delivers his curse upon those who would steal his jewel
• The elaborate Egyptian burial sequence with authentic-looking rituals and the sealing of the tomb
• The shocking reveal of Morlant rising from his tomb as a mummified figure, accomplished through wires and dramatic lighting
• The tense stalking sequences through the darkened mansion as Morlant seeks revenge on his betrayers
• The final confrontation in the tomb where the true nature of the curse and the jewel are revealed

What Critics Said

Contemporary critical reception was mixed but generally positive, with many reviewers praising Karloff's performance and the film's atmospheric qualities. The Times of London noted that 'Mr. Karloff brings his usual sinister presence to the role, and the production values are unusually high for a British film.' American critics were more divided, with Variety calling it 'a competent chiller that lacks the spark of the actor's Universal productions.' Modern critics have reassessed the film more favorably, with many considering it an underrated classic of early horror. Film historians particularly praise its Gothic atmosphere and the performance of its ensemble cast. The film's restoration in the 1980s led to renewed critical appreciation, with many noting its influence on later horror cinema.

What Audiences Thought

Audience reception in 1933 was generally positive, with the film performing well at the British box office and achieving moderate success in the United States. Contemporary reports suggest that audiences were particularly impressed by Karloff's performance and the film's special effects, especially the scenes of Morlant rising from his tomb. The film developed a cult following over the decades, particularly among horror film enthusiasts who appreciated its Gothic atmosphere and Karloff's menacing presence. Modern audiences, following the film's restoration, have shown renewed interest, with many considering it a superior example of early 1930s horror cinema. The film's reputation has grown over time, with many viewers praising its atmospheric tension and the performances of its distinguished British cast.

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