This “Special Edition” Blu-ray from Severin Films is currently available.
I know I often go on about the wonderful efforts of cult movie distributors, who rescue movies from complete obscurity and give them incredible releases on disc, allowing these pictures to be discovered by new audiences, and even more importantly, saved from disappearing entirely. But often that is exactly what these people do, and they should be continually praised for it. Severin Films have gone above and beyond this week with their latest release, which is essentially a lost film that has been rescued from the scrapheap.
The film in question is The Mummy and the Curse of the Jackals, an ultra-low-budget effort that takes its title creatures and puts them in an entirely new and strange environment… Las Vegas, Nevada. Despite having a notable face or two in its cast and an experienced, if past-his-prime director, this independent languished for some time. Apparently, it popped up on VHS in the early 80s with a fuzzy picture that was pretty much unwatchable and has never been seen since. Over the years, the film has become the stuff of rumor and legend. But very recently, the original 16mm internegative was discovered, restored and scanned in 4K. Now, viewers can pick up and finally enjoy this cheesy horror feature.
Set in Vegas, the plot follows archaeologist David Barrie (Anthony Eisley), who has recovered the very well-preserved 4800-year-old-plus sarcophagus of ancient Egyptian Princess Akana (Marliza Pons), along with a mummy (Saul Goldsmith) that was entombed with her. The details are all very sketchy, but after some research David discovers that she is expected to rise from the dead in 1969. He also learns there is a curse on the princess and that anyone who spends a night in her company when the moon is full may transform into a jackal. With a big convention coming up, David looks forward to presenting a revived Egyptian princess to attendees.
After showing her body off to pal and chemical engineer Bob (Robert Alan Brown) as well as his girlfriend Donna (Maurine Dawson). Why is it important that Bob is a chemical engineer? Who knows? Anyway, David that night decides to test out the jackal claim and see what happens. Indeed, he does transform (into a wolfman, essentially) and goes on a rampage that very evening.
Soon, Akana has arisen and uses her charms to lure/hypnotize men with an impressive ring featuring an asp and jewel. The mummy also heads out to do her bidding on the streets. Before long, it is discovered that the Egyptian deities Akana serves want her to build a shrine for them and enable their return. Of course, a mummy and a jackal/wolfman racing around Vegas raises suspicion with the police, who ask for assistance from Professor Cummings (John Carradine) in solving the case.
This is definitely an absurd effort that has much in common with the work of Ed Wood Jr.. It doesn’t make a lick of sense and features some hilariously silly moments. It’s quite funny to see the main character turn the basement of a house into a makeshift tomb-of-sorts with cobwebs and the like. When Akana awakens, she adapts to the modern world remarkably quickly, going to dinner shows with David, Bob and Donna. And when the Professor appears, he essentially tells the inept and inefficient detectives what to do and how to pursue the case.
It’s absurd in the extreme and there is plenty of fun to be had watching the story play out. The practical make-up effects aren’t very good but this actually adds to the endearing quality on display. And the final third, which features both the mummy and jackal hunting along Fremont Street in Vegas and, at one point, venturing into a casino carrying a body (surrounded by random people who either stare a bit at the camera or seem to have no interest in what’s occurring around them) only add to the picture’s surreal quality. The final scuffle between the monsters isn’t as enjoyable as it could have been, but there is so much wackiness on display that, in the end, it doesn’t really matter.
This isn’t a good movie, but it is amusingly daft. As you might have guessed, the image being presented isn’t reference quality for your home theater system. The picture, sourced from the 16mm internegative, is grainy throughout but is clear and, for the first time ever, you can actually see what’s going on in every shot. This is also a wonderful time capsule, showing off the streets of the old Las Vegas from 1969. I believe that this is as good as the image can possibly look.
There is also more than 2 hours of bonus material. The first is an interview with horror film expert Stephen Thrower, who goes into the history of the production company, Vega International. This short-lived business was formed in Las Vegas and aimed to produce these types of low-budget/drive-in pictures. You’ll get a history of the brief number of titles they were able to make, as well as their quick descent into financial bankruptcy.
There are rumors that, after acquiring the services of director Oliver Drake and John Carradine, the production funds vanished and that a large portion of the picture wasn’t actually shot. Many participants weren’t paid for their work as well. It is inferred that the mob was involved and were using the production to launder money for their own criminal enterprises, leaving no cash for the actual feature. After folding for a few years, it is reported that Vega returned in the 70s and started scamming wannabe actors, setting up casting calls but charging $50 to performers to audition.
A second interview with a film historian goes into detail on the career of director Oliver Drake. Viewers hear about his work in westerns, and how he managed to become a producer at Republic Pictures. Eventually, Drake actually got his foot in the door at Universal Pictures and worked as an associate producer on The Mummy’s Curse. Following his success there, he began directing for TV. He was quite old by the time this picture came around and a cast member suggested that he might have been senile, but the filmmaker’s daughter rebuked this rumor, stating that he did work afterwards and also penned an autobiography that was released in bookstores.
Additionally, there is a fun interview with Garry Gassel, son of Milton R. Gassel and Judy Gassel, who invested in the picture. He recalls spending years trying to track the movie down. After contacting a few crew members, no one could locate the film. More than a decade later, he was thrilled to learn that the original materials had been discovered at a 2019 estate sale of the late actor/independent producer Ewing “Lucky” Brown. It’s a fun listen.
Finally, this disc includes another picture made by Vega International that was thought lost but recovered at the very same estate clearance. Angelica: The Young Vixen (1974) is a softcore feature about a young woman who seeks out pleasure with older men. While the movie is credited to The Mummy and the Curse of the Jackals’ director Olver Drake, it is immediately apparent that he had nothing to do with the production. The picture quality is damaged and in poor condition, but at least it was recovered. A film commentary accompanies the picture, which goes into greater detail about this remarkable estate sale and how the movies ended up in the hands of Brown. You’ll also learn that more explicit material was added (and shot on different film stock) in order to help sell the movie. Remarkably, the Angelica film was actually released theatrically in France, which is more than can be said of the main feature on the disc. This “sexpoitation” feature is poor, but the accompanying commentary track is fascinating.
It was fun to discover The Mummy and the Curse of the Jackals, which only a short time ago was thought to be lost forever. While not a cinematic classic, it does have its appeal, especially for those who appreciate campy cinema with a few uniquely eccentric elements. Severin Films has done an excellent job salvaging the movie and making it available for all to enjoy. If you like Ed Wood Jr. pictures, then this Blu-ray should be right up your alley.