The first film and prototype of the Dark Universe project, Alex Kautzman’s film is a real journey through time through movie history and a step towards the future of ‘new monsters’
From June 8th, there is La Mummia in the hall, the beginning of the Dark Universe project signed by Universal Pictures, which wants to give life to monsters of classic horror. You know already that the next movie will be Frankenstein’s wife and almost every day comes updates on the cast, already full of names like Johnny Depp and Javier Bardem.
It is difficult to express a unique view on Alex Kauzman’s film, and interpreted by Tom Cruise, Sofia Boutella and Annabelle Wallis: Mummy in version 2.0 can be a classic, though not in the sense that (perhaps) can be understood and different in same time. Here because.
In the beginning, it was Indiana Jones, then came the Templars and the Zombies
Among the scenes of the prologue and the first third of the film, rather than the remake of the 1932 and 1959 film, the thought goes to Indiana Jones’s saga of archaeologist and adventurer: there are both aspects because Nick Norton (Tom Cruise) is More than an adventurer, is a soldier who, in order to round up antiquity, sells them to the best bidder.
Jenny Halsey (Annabelle Wallis), on the other hand, is the invaded Egyptologist to know, ready to defend archaeological goods. Or, at least, it looks at the beginning. Then, in the film, references to Templars and Zombies flourish, since Ahmanet’s servants look more like non-dead than ambulant mummies.
In addition to being a former dancer and, recently, a highly-sought-after actress – who will soon be in the room with Charlie Theron in Blonde Atomics – Sofia Boutella can boast of being the first mummy woman: the role is traditionally male but not in Dark Universe. It is Ahmanet’s desire to start ‘games’, starting with the patricid – which recalls, very Greek mythology – to start the curse, and then point to seduction. A modern dark lady, with epic recalls.
Despite the indisputable fascination, made of bandages, but also of flesh and sensuality, one can not feel a sympathy for Ahmanet: neglected by his father, deceived by his servants and rejected even in the twenty-first century. Tom Cruise, in spite of the undisputed fascination for mummy (spontaneous or induced by the same, you do not know), still prefers Jenny blond, even refusing the gift of immortality.
The original mummy, as well as that of Stephen Sommers (with whom he shares the spectacular sandstorms) of 1999, sees little or nothing. In Alex Kauzman’s film, however, there is nothing else. Not so much in terms of passion scenes (just evoked) or nudity (equally alluded, between veils and various bands) of Ahmanet, but for that correlation, which again knows of the ancient, between sex and death. It even touches Tom Cruise, who finds naked in a morgue. It touches the same Ahamanet, forced to ‘suck’ the vital lymph from humans through deep kisses. Not to mention the ménage à trois between Nick, Ahmanet and Jenny, which takes on an old story like the world, the dramatic love triangle of an undecided man between two women.
The character played by Cruise is the paradox of the hero who opposes the monster: selfish, moved only by interest, Nick Morton performs his parable towards love for his neighbor (in this case, for the Egyptian blonde and For humanity) thanks to the fighting Mummy. Ahmanet is, in fact, to make the first glimpse of pity in Nick, when he attends the ‘torture’ that takes place in Jeckyll’s lab. Completely at the mercy of the events for most of the film, the male protagonist is the object of the Egyptian princess’s desire almost to his knowledge and addresses the situation with the same expression of those who are unbelieving, but no such questions arise. With some (perhaps) inadvertent chicca, Cruise seems to be present only in the scene of the Aryan, when he seems to notice Agent Hunt during one of his robbers Mission