BLOOD FROM THE MUMMY’S TOMB is based on Bram Stoker’s 1903 novel THE JEWEL OF SEVEN STARS, which revealed some of the author’s fascination for Egyptology. This cinematic outing from Hammer Film Productions features a screenplay by Christopher Wicking and was mostly directed by Seth Holt, at least until he died with a week left in production. Michael Carreras helmed balance, while Hammer staple Arthur Grant is billed as the cinematographer.
The star of the show is Valerie Leon, who is a young woman named Margaret. She bears a likeness to Queen Tera (Leon), an Egyptian of antiquity, and she’s given a ring by her father Professor Fuchs (Andrew Keir). The ring belonged to Queen Tera and her power begins to saturate Margaret, who finds her nightmares getting worse. Her suitor Tod (Mark Edwards) tries to hold the fort, but Professor Fuchs has some foul colleagues from the expedition and ancient history is finding its way back.
The scenario of BLOOD FROM THE MUMMY’S TOMB is standard. The principal villain is restricted to her sarcophagus and her reach is less perceptible in that she occupies Margaret’s mind and grants her detached power. Death moves through the air, scratching out throats and leaving bodies in the bloody expanse. There is an expedition gone wrong, just like Tod’s shrieking car ride, and Queen Tera’s trickling fingerprints are everywhere.
Lest this lack of tangibility wound BLOOD FROM THE MUMMY’S TOMB’s chances at the material, there’s Leon. Along with possessing many of the qualities admired by those so inclined toward such ambrosial manifestations of the flesh, Leon is a doe-eyed contestant in the mystic elsewhere. She occurs between time, lying in Tera’s tomb and reaching Margaret’s soul and sharing evil essence. Her lot is the exhibition of unseen ferocity, the inevitability of death, the blasphemy. And when she goes to hell, we’ll still remember her.