Newly hired ranch foreman Jack Loomis (Jack Perrin) comes to the aid of two Indians who were nearly swindled out of their land during a card game. The Indians inform Jack that his new boss, George Tully (Al Bridge), is actually a crook and the ranch is just a front for his criminal activities. When Jack says he doesn’t want to be a part of Tully’s schemes, Tully and his men frame Jack for a robbery.
After you watch enough of these Poverty Row westerns, you start to get the feeling that anyone in the 30s could walk into a studio and star in a B-western. Jack Perrin was a World War I veteran who had the right look to be the star of several silent films but once the sound era came along, his deficiencies as an actor became very apparent. He could ride a horse and throw a punch without looking too foolish but his flat line delivery made him one of the least interesting of the B-western stars. That’s the case here, where Perrin is a boring hero and the entire plot hinges on the villain making one really big and really stupid mistake. John Wayne could have pulled this movie off but Jack Perrin was lost.
Jack Perrin’s career as a star ended just a few years after this film but not because he was a bad actor. Instead, Perrin filed a lawsuit after a studio failed to pay him for starring in one of their films. From 1937 until he retirement in 1960, Perrin was reduced to playing minor roles for which he often went uncredited. Hollywood could handle a bad actor but not an actor who expected to be paid for his work.
In 1940, having brought back The Invisible Man and Frankenstein’s Monster, Universal Pictures decided that it was also a good time to bring back The Mummy!
The Mummy’s Hand takes place in what we’re told is Egypt, though it’s obvious just a Universal backlot. Two archeologists — Steve Banning (Dick Foran) and Babe Jenson (Wallace Ford) — are penniless and stuck in Egypt. Babe wants to find a way to return to Brooklyn and his ex-girlfriend. Steve is a bit more serious about archeology, though it must be said that he’s no Indiana Jones when it comes to discovering relics and taking them to museums. If Indiana is the type who will risk his life to search a hidden cave in the Amazon Rain Forest, Steve is far more likely to just wander around an Egyptian market until he comes across someone selling an ancient vase.
Which is exactly what happens! Steve finds someone selling a vase and, after he learns where it came from, he buys the vase. He takes the vase to Prof. Andoheb (George Zucco), not knowing that Andoheb is an Egyptian high priest who has been sworn to protect the tomb of Princess Ananka. When Andoheb realizes that the vase could lead to the discovery of the tomb, he lies and claims that it’s a forgery. He then “accidentally” breaks it in order to keep Steve from showing the vase to anyone else. Steve, however, is not deterred and a chance meeting with an American magician named Tim Sullivan (Cecil Kellaway) leads to Sullivan agreeing to finance Steve’s expedition to discover where the vase came from. Sullivan’s daughter, Marta (Peggy Moran), worries that Steve and Babe are just trying to steal her father’s money so she insists on coming on the expedition with Steve. Also following the expedition is Andoheb, who is himself starting to fall for Marta and who is hoping that he can use a secret serum hidden in the tomb to make both himself and Marta immortal.
Of course, the tomb itself is protected by Kharis (Tom Tyler, under a ton of bandages), a mummy who is immortal due to the serum and who has sworn to protect the tomb from any outsiders. Kharis moves slowly but efficiently. He’s a ruthless and silent killer, one whose eyes appears to just be two black holes, the better to reflect his own lack of a soul.
The main problem with The Mummy’s Hand is that it takes forever for the Mummy to actually show up. This is only a 67-minute film and the Mummy mayhem doesn’t really start until around the 50 minute mark. As a result, the viewer spends a lot of time watching Steve and Babe wander around Egypt and essentially act like stereotypical American tourists. Even when the expedition finally gets started, the audience still has to sit through endless scenes of Marta accusing Steve of being some sort of con artist. This is a movie that will truly leave you saying, “When is the mummy going to show up!?”
That said, The Mummy itself is a frightening creature, especially with his empty eyes. Mummy’s are naturally frightening, especially when they’re walking towards you and dragging their decaying bandages behind them. The Mummy is effective, I just wish he had been featured in more of the movie.
When two U.S. marshals are ambushed and killed while searching for a group of outlaws in a nearly deserted ghost town, Marshal Tim McCall (Tim McCoy) leaves his ranch in Wyoming to investigate the crime. He was friends with the two murdered men, making this case personal. Of course, McCall’s two fellow Rough Riders ride into town to help McCall out. Buck Roberts (Buck Jones) and Sandy Hopkins (Raymond Hatton) arrives separately and pretend to be prospectors. Their investigation leads to the outlaws (led, as usual, by Charles King), a corrupt member of the community, and a network of underground tunnels that might lead to a gold mine. As with all of the Rough Rider films, Ghost Town Law features a younger secondary protagonist who was there to appeal to audiences who didn’t remember Jones, McCoy, and Hatton from their silent and pre-code era heyday. Virginia Carpenter plays Josie Hall, who comes to the town to search for her grandmother and brother.
Starting with the two marshals getting gunned down in the line of duty, this is one of the more violent of the Rough Riders films. Since the Rough Riders are as interested in getting revenge as they are in getting justice, the Rough Riders themselves are quicker on the draw than usual. The identity of the main villain will not be a shock to anyone who has watched any of the other Rough Rider films but the use of the underground tunnels adds a new element of danger to the movie. For once, the outlaws and the Rough Riders seem evenly matched. The film also features the very lovely and likable Virginia Carpenter, making the last of her five film appearances.
As always, the main appeal is watching Jones, McCoy, and Hatton acting opposite each other. Due to the nature of the case, all three of them are more serious than usual in Ghost Town Law but it is still enjoyable to watch them discuss what’s been happening at their ranches since the last movie.
Newly hired ranch foreman Jack Loomis (Jack Perrin) comes to the aid of two Indians who were nearly swindled out of their land during a card game. The Indians inform Jack that his new boss, George Tully (Al Bridge), is actually a crook and the ranch is just a front for his criminal activities. When Jack says he doesn’t want to be a part of Tully’s schemes, Tully and his men frame Jack for a robbery.
Through the Shattered Lens 