Film Review: The Gorgon (dir by Terence Fisher)


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.

Creature Double Feature 6: FRANKENSTEIN CREATED WOMAN (Hammer/20th Century-Fox 1967)/FRANKENSTEIN MUST BE DESTROYED (Hammer/Warner Bros 1969)


cracked rear viewer


Hammer Horrors were a staple of Boston’s late, lamented “Creature Double Feature” (WLVI-TV 56), so today let’s take a look at a demonic duo of Frankenstein fright films starring the immortal Peter Cushing in his signature role as the villainous Baron Frankenstein.

FRANKENSTEIN CREATED WOMAN was the fourth in Hammer’s Frankenstein series, made three years after EVIL OF FRANKENSTEIN. The Baron is back (after having apparently been blown to smithereens last time around), this time tampering with immortal souls rather than mere brain transplants. The movie features some ahead-of-its-time gender-bending as well, with the soul of an unjustly executed man transmogrified into the body of his freshly dead (via suicide) girlfriend, now out for vengeance!

Young Hans (Robert Morris), who watched his father guillotined as a child, grows up to work for muddle-headed alcoholic Dr. Hertz (Thorley Walters , in an amusing performance), who revives the cryogenically frozen Baron…

View original post 687 more words

4 Shots From 4 Werewolf Films: Werewolf of London, The Curse of the Werewolf, Werewolf Woman, The Wolf Man


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking.

Today, we pay tribute to a very special breed of monster with….

4 Shots From 4 Werewolf Films

Werewolf of London (1935, dir by Stuart Walker)

The Curse of the Werewolf (1961, dir by Terence Fisher)

Werewolf Woman (1976, dir by Rino Di Silvestro)

The Wolfman (2010, dir by Joe Johnston)

Horror Film Review: The Curse of the Werewolf (dir by Terence Fisher)


The 1961 Hammer film, The Curse of the Werewolf, is a good example of a film that could succeed on casting alone.

As you can probably guess from the title, this film is about a werewolf.  And there was never an actor more perfect for the role of a werewolf than Oliver Reed.  Set aside Reed’s legendary reputation for wild off-set behavior.  Set aside the fact that Reed specialized in playing men who often seemed to have a beast lurking deep within them, a beast that was constantly bursting out.  With his handsome but scarred face and his burly physique, Oliver Reed looked like a wolf.  If I had to sit down and paint a picture of how I visualized a man who transformed into a beast, the picture would probably end up looking like Oliver Reed.

In fact, Reed is so perfectly cast in this film that it’s easy to overlook the fact that he doesn’t even show up until the last quarter or so of the film.  Clocking in at a relatively leisurely-paced 91 minutes, The Curse of the Werewolf plays out more like an extremely grim fairy tale than a traditional horror film.

It begins in 18th century Spain, with a beggar stumbling across the wedding of a cruel nobleman.  When the beggar asks for food, he’s mocked.  He’s cruelly forced to beg and then, for his trouble, he’s thrown into jail.  Isolated from the world, the beggar’s only human contact comes from his kindly jailer and the jailer’s mute daughter.  When the nobleman tries to force himself on the daughter, he’s rejected.  As a result, he throws the jailer’s daughter into the cell with the now animalistic beggar.  When she’s eventually released, she promptly murders the nobleman but she’s now pregnant with the beggar’s child.

That child is named Leon Corledo and eventually, he’ll become Oliver Reed.  But first, we watch as he grows up, the adopted son of the kindly Don Alfredo (Clifford Evans).  Alfredo’s housekeeper considers Leon to be cursed because he was born on Christmas Day and his mother died in childbirth.  Alfredo may dismiss that as a silly superstition but, as Leon grows up, strange things do happen.  Goats are murdered and, even though a dog is blamed, we know that it has something to do with Leon.

Yes, Leon is a werewolf but interestingly enough, it’s not the full moon that transforms Leon into a beast.  Instead, it’s stress and depression.  When Leon grows up and goes to work in vineyard, he’s fine until he realizes that he’ll probably never be a rich man like his boss and he’ll never have enough money to marry Christina (Catherine Feller).  That’s when he loses control and transformed.

The Curse of the Werewolf is a dark and moody film, directed in an appropriately atmospheric fashion by Terence Fisher.  Leon is one of the more tragic Hammer monsters, having been born with an affliction that he can’t control and which no one else is capable of understanding.  Oliver Reed gives a wonderful performance, revealing the tortured soul that lurks underneath the fearful exterior.  This Hammer film may not be as well-known as the Dracula or Frankenstein films but it’s definitely one that deserves to be seen.

4 Shots From 4 Films: The Plague of the Zombies, Frankenstein Created Woman, The Mummy’s Shroud, The Satanic Rites of Dracula


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking.

Today, we pay tribute to the TSL’s favorite British studio with….

4 Shots From 4 Hammer Films

The Plague of the Zombies (1966, dir by John Gilling)

Frankenstein Created Woman (1967, dir by Terence Fisher)

The Mummy’s Shroud (1967, dir by John Gilling)

The Satanic Rites of Dracula (1973, dir by Alan Gibson)

4 Shots From 4 Peter Cushing Films: Hamlet, Doctor Who and the Daleks, Frankenstein Must Be Destroyed, Star Wars


4 Shots from 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots from 4 Films lets the visuals do the talking!

Today is Peter Cushing’s birthday!  This edition of 4 Shots From 4 Films is dedicated to him, his memory, and his career!

4 Shots From 4 Peter Cushing Films

Hamlet (1948, dir by Laurence Olivier)

Doctor Who and the Daleks (1965, dir by Gordon Flemyng)

Frankenstein Must Be Destroyed (1969, dir by Terence Fisher)

Star Wars (1977, dir by George Lucas)

 

Horror Book Review: House of Horror, edited by Jack Hunter


If you love horror films, you have to love Hammer Films, the British studio that was responsible for some of the best horror films of the 50s, 60s, and 70s.  It was Hammer who brought Dracula, Frankenstein, and the Mummy back to life and who introduced a splash of color to the formerly black and white world of horror.  It was Hammer that first brought horror together with pop art.  And, of course, it was Hammer that made stars out of actors like Christopher Lee and Peter Cushing.

House of Horror was originally published in 1973, as a tribute to Hammer in its waning days.  The copy that I own is a revised edition, one that was published in 2000.  I found it at Recycled Books in Denton, Texas.  (That was quite a shopping trip, by the way.  Not only did I buy House of Horror but I also bought A Taste of Blood: The Films of Herschell Gordon Lewis.)

Anyway, if you’re a fan of Hammer Films, then this is one of those books that you simply have to own.  Not only does it contain interviews with the big four of Hammer (Peter Cushing, Christopher Lee, Terence Fisher, and Michael Carreras) but it also provides a in-depth analysis of Hammer’s Dracula series, its Frankenstein series, and its lesser known science fiction productions.

At the end of the book, there are biographies of some of the members of Hammer’s stock company.  There’s also not only a full list of every film that Hammer ever produced but even a list of Hammer project that never reached the filming stage.  If, as I am, you’re obsessed with film trivia, this book is a must have.