The final Universal outing for Abbott and Costello featured a cursed, edible medallion
In short: In their swan song for Universal, Abbott and Costello stumbled into a Cairo tomb, accidentally swallowed a sacred artifact, and faced off against a reanimated mummy named Klaris. This 1955 horror-comedy marked the end of an era for the legendary duo, blending slapstick routines with the studio's classic monster legacy.
Released in 1955, Abbott and Costello Meet the Mummy served as the final collaboration between the comedy team and Universal-International. The film follows two Americans stranded in Cairo who become entangled in a hunt for the treasure of Princess Ara. After a local doctor is murdered, the pair finds themselves in possession of a sacred medallion that supposedly marks the location of the hidden riches. The plot spirals into chaos as they attempt to sell the cursed item, which Costello eventually consumes inside a hamburger.
The production, filmed in late 1954, features the iconic duo navigating a web of treasure hunters and cultists led by the character Semu. While the film is part of Universal's broader Mummy franchise, it notably renames the monster Klaris, portrayed by stuntman Eddie Parker. Parker was no stranger to the role, having previously served as a double for Lon Chaney Jr. in earlier entries of the series. The film also includes a cameo from Costello's 16-year-old daughter, Carole, who appears as a flower girl.
Beyond its narrative, the film is a showcase for the team's classic vaudevillian routines, including a variation of their famous poison-swapping bit and a sequence involving a snake-charming clarinet. Although the script assigned the leads the names Pete Patterson and Freddie Franklin, the actors used their own names on screen. The film's legacy persisted long after its theatrical run, appearing in various home media compilations, including massive box sets featuring the studio's complete roster of classic monsters, and even earning a nod in popular television sitcoms like Everybody Loves Raymond.
The production concluded just before the duo traveled to New York City to participate in the Macy's Thanksgiving Day Parade. While the film marked the end of their Universal tenure, it remains a distinct entry in their filmography, balancing the studio's horror aesthetic with the duo's signature brand of frantic, physical comedy. By the end of the story, the tomb is repurposed into a nightclub, a surreal resolution that preserves the legend of the mummy while allowing the protagonists to escape their ordeal.
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