Film Review: The Gorgon (dir by Terence Fisher)

Posted on October 26, 2019 by Lisa Marie Bowman

Medusa, who is probably the best-known of the Gorgons who haunt Greek mythology, is a scary creation.

That may seem like a rather obvious statement to make but seriously, let’s consider just how scary Medusa is. First off, there’s the fact that her hair is made out of snakes. Snakes are frightening in general. The other day, Doc caught a grass snake and tried to give it to me by dropping it at my feet. I have never been quicker to jump away from a cat. It’s not just Texas grass snakes that frighten me, though. There’s the rattlesnakes that I used to see when my family was living in New Mexico. There’s the water moccasin that I once saw swimming in Boggy Creek when I was up in Arkansas. I’m pretty sure that I once saw a cobra slithering through downtown Denton but all of my friends insist that it was just a water hose that somebody left out. Well, no matter! Snakes are scary on their own but they’re even scarier when they’re growing out of someone’s head!

And then there’s the fact that if you look at Medusa or any of her sisters, you turn to stone! I mean, it just takes one look and boom! You’re a statue! I imagine the process of transforming would feel terrible. Can you even imagine? Even worse would be someone trying to move your body and accidentally dropping you. I mean, you could lose a finger! I guess it wouldn’t matter since you would be dead but still, that would totally suck to lose a finger that way.

First released in 1964 and having since achieved a certain immortality based on frequent TCM showings, The Gorgon is a production of Hammer Film. The usual Hammer monsters are replaced by Mageara (played by Prudence Hyman), a Gorgon who has somehow found herself in a typical, isolated Hammer village. Neither Dracula nor Baron von Frankenstein are present in this film, though the actors who played them do have roles. Christopher Lee is Prof. Karl Meister. Peter Cushing is Dr. Namaroff. Together, they solve crimes and hunt the monsters!

Villagers are getting turned to stone and innocent artists are being condemned to die. We know that it’s all due to the Gorgon but it takes everyone else in the film a while to figure it out. For instance, Paul (Richard Pasco) has to dig up his father’s grave in order to be convinced that the old man died from being turned to stone. At first, the only person who truly seems to believe in the Gorgon is Namaroff’s assistant, Carla (played by Hammer films regular, Barbara Shelley). By the end of the film, of course, everyone knows that Gorgons are real! Of course, almost everyone has been turned to stone, as well. Even by the standards of Hammer, the body county is high and the monster is merciless in The Gorgon.

It’s an effective Hammer film, though it’s never quite as much fun as Hammer’s Dracula or Frankenstein films. The Gorgon takes itself perhaps a tad too seriously but, at the same time, you have to love any film that features both Lee and Cushing working together for once, as opposed to trying to kill each other. Christopher Lee especially seems to be enjoying himself as Dr. Namaroff. Lee reportedly grew quickly tired of playing Dracula and his joy of having a different type of role is palpable and perhaps the most likable thing about The Gorgon. As for the Gorgon herself, she’s properly frightening. I mean, she has snakes in her hair, after all.

When this movie last aired on TCM, there were technical difficulties during the last seven minutes of the showing. The screen went blank and then viewers were treated to several different takes of one of the Gorgon’s victims trying to write a letter as he turned to stone. It kind of freaked everyone out, to be honest. Had the Gorgons taken over TCM? Fortunately, order was restored in time for everyone to watch Plague of the Zombies. Thankfully, things worked out.

The TSL’s Horror Grindhouse: Rasputin, The Mad Monk (dir by Don Sharp)

Posted on October 6, 2018 by Lisa Marie Bowman

In turn of the century Russia, there lived a man named Grigori Rasputin.

He was a monk, though some considered him to be more a servant of the devil than of God. Legend has it that he was a man who rarely bathed and who made it a point to live in the wild, a part of nature. His hair was long and unkempt and he was known for his wild eyes. Depending on who is telling the story, Rasputin’s stare is described as either being seductive or frightening. Rasputin had a reputation for being a great healer, as well as a great seducer. (It is said that Rasputin offered up as his defense that it was necessary to sin so that he could be forgiven by God.)

Despite being a controversial figure (and, in the eyes of same, an instrument of the devil), the charismatic Rasputin became well-known in Russian social circles. In fact, the stories of his powers as a healer eventually reached the household the Tsar. The Tsar’s son suffered from hemophilia and was frequently ill. Rasputin was brought into the royal palace to cure him and, according to contemporary accounts, he was somehow able to do just that. It was said that only Rasputin could stop the boy’s bleeding.

It was also said that Rasputin grow to have a good deal of influence over the Tsarina. In fact, he was seen as having so much influence that certain members of the royal court started to view him as being a threat to their own power. On December 30th, 1916, Rasputin was murdered. There are many stories about how Rasputin was murdered but it’s generally agreed that the conspirators first tried to poison him, just to discover that Rasputin was apparently immune to cyanide! Eventually, Rasputin was shot twice and then dumped in the Malaya Nevka River. Stories about how difficult it had been to kill Rasputin only added to his legend.

After his death (and the subsequent communist revolution that led to the murders of the Tsar and his family), Rasputin became a legendary figure. Because of his connection to the occult, it’s perhaps not surprising that he’s also been the subject of a number of biopics. Everyone from Klaus Kinski to Lionel Barrymore to Alan Rickman has played the mad monk. (Apparently, Leonardo DiCaprio has been attached to an up coming film about Rasputin.)

And then there’s Christopher Lee. Christopher Lee played Rasputin in the 1966 Hammer Film, Rasputin, The Mad Monk. It’s probably one of Lee’s best performances, as well as one of his most lively. Lee plays Rasputin as being a cunning charlatan, one who may act like a madman but who always know exactly what he’s doing. The film makes perfect use of Lee’s imposing physical presence and, when Rasputin uses his powers of hypnotism, Lee stares with such intensity that you never doubt that he’s a man who knows how to get exactly what he wants. Lee makes you believe that, through sheer willpower, Grigori Rasputin very well could have become one of the most important men in Russia.

As for the film itself, it’s a briskly paced retelling of Rasputin’s final years, hitting all of the expected points without ever digging too far beneath the surface. Rasputin cures the sick and seduces their mothers, wives, and sisters and uses his powers of hypnotism to hold most of St. Petersburg under his control. Many of the usual Hammer performers (including Barbara Shelley, as the Tsarina’s servant and Joss Ackland as a bishop) make an appearance and the fact that no one makes the least bit of effort to sound Russian just adds to the film’s charm. It’s an entertaining look at a fascinating historical story and, most importantly, it features Christopher Lee at his chilling best.

Horror Film Review: Dracula, Prince of Darkness (dir by Terence Fisher)

Posted on October 15, 2014 by Lisa Marie Bowman

“My master is dead but he left instructions that the house should always be ready for visitors.”

“Who was your master?”

“His name was Count Dracula…”

— A snatch of dialogue from Dracula, Prince of Darkness (1966)

Dracula, Prince of Darkness is notable for many reasons.

First off, this movie marked Christopher Lee’s return to the role that he played 8 years earlier in The Horror of Dracula. After being forced to make one Dracula film without Dracula, Hammer Films was finally able to make a direct sequel to The Horror of Dracula.

As a result of Lee returning, this was also the first of the Hammer Draculas to feature the previously destroyed Lord of the Vampires being revived through a splash of blood. This was a plot element that all subsequent films in the series would feature and, to a certain extent, you have to admire Hammer’s efforts maintain some form of continuity. Whereas it would have been easy enough to just have Dracula show up with no explanation as to why he’s back, the Hammer films at least tried to make sure everything followed some sort of identifiable logic. (Or, at least they did until Dracula A.D. 1972 but we’ll get to that movie later…)

This was the first Dracula film not to feature (with the exception of the footage from Horror of Dracula that opens the film) Peter Cushing in the role of Van Helsing. And while the film probably would have been improved by the presence of Cushing, the film does come up with a more than adequate substitute in the form of Andrew Keir’s Father Sandor. Whereas Cushing’s Van Helsing always seemed to be a rather rational vampire hunter, Keir brings a truly demented energy to the role.

And finally, Dracula, Prince of Darkness is probably best remembered for being the Dracula film in which Dracula does not speak. He does hiss a few times but, for the most part, Dracula is silent throughout this entire film and, instead, relies on his servants Klove (Philip Latham) and Ludwig (Thorley Walters) to do most of the talking.

Why Dracula doesn’t speak is a matter of debate. Christopher Lee has claimed that he refused to say any of the dialogue that had been written Dracula while screenwriter Jimmy Sangster wrote, in his autobiography, that Dracula was specifically written to be a silent role. (Or, as Sangster put it, “Vampires don’t chat.”)

Regardless of why Dracula is silent, it actually works quite well. Sangster’s right. Vampires don’t chat and Christopher Lee’s haughty Dracula would be the least likely of all to make small talk. Dracula’s silence both reminds us of the contempt with which he views the living and it also plays up the animalistic aspects of the character. It helps, of course, that Christopher Lee is one of those actors who can do more with one dismissive glare than most actors could do with 20 pages of the most florid and overwritten dialogue.

As for the film itself, it serves as a reminder that the only thing that need happen for evil to be triumphant is for stupid tourists to take a holiday in Transylvania. Ignoring the warnings of practically everyone else on the planet, the Kents — Alan (Charles Tingwell) and wife Helen (Barbara Shelley) and Charles (Francis Matthews) and wife Diana (Suzan Farmer) — spend the night at Dracula’s castle. Dracula’s servant, Klove, murders Alan and drains his blood over Dracula’s ashes. Soon, Helen is a vampire, Diana has been selected to be Dracula’s latest bride, and it’s up to Sandor and Charles to save everyone’s soul.

Dracula, Prince of Darkness is a lot of fun. It’s full of all the usual Hammer touches — melodramatic dialogue, ornate castles, pretty costumes, plentiful gore, unfriendly villagers, and not-quite-brilliant heroes — and, best of all, it’s got Christopher Lee proving that Dracula doesn’t need to speak to be frightening. Subsequent films in the Hammer Dracula series would grow increasingly uneven but Dracula, Prince of Darkness is a worthy entry.

http://www.youtube.com/watch?v=udqm1gw28xo