La Gorgone

The spirit of one of the three Gorgon sisters from Greek mythology is terrorizing a German village in the early 1900s. A doctor (Peter Cushing) seems to be in denial about the supernatural element of the mounting deaths in the last seven years, but a professor from out of town has no qualms about finding the truth (Christopher Lee). Barbara Shelley plays the doctor's assistant while Richard Pasco is on hand as a subordinate to the professor.

"The Gorgon" (1965) is cut from the same gothic horror cloth as other Hammer flicks of the era, like "Dracula, Prince of Darkness" (1966), "Frankenstein Created Woman" (1967) and "Frankenstein Must be Destroyed" (1969), as well as similar non-Hammer movies, like Corman & Coppola's "The Terror" (1963) and "The Creeping Flesh" (1973). If you like these kinds of films, you'll appreciate "The Gorgon," although it's the least of these IMHO, albeit not far off.

The pace is slow as suspense mounts with various revelations. The romantic element lends human interest and it's nice to see Cushing and Lee sorta trade typical roles. As usual with Hammer and similar flicks from the era, the colorful spooky ambiance is a top attraction. And noble redhead Barbara Shelley doesn't hurt.

The movie runs 1 hour, 23 minutes, and was shot at Bray Studios in England.

GRADE: B

One of the mythological gorgons(Megeara) is haunting a small village, and everyone in the village literally turns their faces away from the sporadic murders that occur when the moon is full. All this is discovered when a father of a dead man tries to protect his son's reputation, and is greeted with silence and hatred from the villagers. In his quest to find the truth...he does...the stone-cold truth. This is a fine Hammer film, not overly scary, but incredibly atmospheric with its swirling mists, huge cavernous palatial sets, and wonderful direction and casting. Terence Fisher does a first-rate job showing us the conspiracy going on in this village. Peter Cushing is the town's primary culprit of hiding the truth and gives his customary good performance. The film, however, belongs to Lee, who play an eccentric, gruff scholar helping the other son of the newly killed father. Lee is absurd yet brilliant in his caricature. A fine addition to the Hammer cycle.

This is an enjoyable rather forgotten movie from the Hammer studio's, staring both Peter Cushing and Christopher Lee again.

I particularly liked the atmosphere of the movie. Unlike many other Hammer movies, this one actually got creepy, which was mainly due to its mysterious build up and overall atmosphere. The first appearance of Megaera is a great horror moment and surprised me quite a bit at how greatly it was done.

But no, unfortunately the movie is a whole isn't among the best the Hammer studios ever provided. The actual story fails to become really interesting and the character treatment isn't the greatest. It took me a while into the movie to realize that Peter Cushing was going to be the 'bad' guy in this and Christoper Lee the good guy. Normally those roles are always turned around. Besides that, Christopher Lee doesn't really get featured until the movie is already halve way through. His character after that also makes a redundant impression and the movie could had easily done without him. He's first billed but don't be fooled, he really isn't the main character in this. It also isn't Christopher Lee's finest acting moment. At times he's just downward horrible. His silly looking make-up and wig also doesn't help much to make his character a good one. Peter Cushing also gets make-up applied. In some sequences he looks so much different than he did in real life! It also takes a while for the movie to introduce its real main character, Paul Heitz.

The story flow also isn't the greatest. The movie gets stuck at times, when the mystery doesn't get explained and not enough is happening in the movie, even though the actual story itself is in its core quite a good one, that's filled with lots of potential, that doesn't really get ever exploited in this movie.

The movie obviously didn't cost a lot to made. Like I said before, the make-up effects aren't the greatest but more distracting are the obvious fake backgrounds and sets. Nevertheless, this has now of course become part of the charm of Hammer horror movies.

Greatly enjoyable to watch for the Hammer fans.

6/10

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Those who tiresomely belabor the inadequacy of the snakes on the Gorgon's head at the film's conclusion entirely miss the point. It is not surprising in our cretinous era that some would lament the unavailability of computer generated special effects in 1964. That they persist in doing so, however, only serves to illustrate how very far these modernists are in both sensibility and aesthetic principles from the 19th century Gothic tradition that this film so faithfully seeks to reproduce. The point isn't the snakes but the psychological force behind the baleful facial expression!

In this connection, it is appropriate to observe that Terence Fisher was absolutely right in considering this one of his best films.

And make no mistake: this film is very much in the 19th century Gothic tradition in both story and atmosphere. In that sense, it may be compared to a story by Ludwig Tieck, while its visuals hearken back to the paintings of Jacob van Ruisdael.

Visually, it is among Hammer's most accomplished productions. Michael Reed's effective photographic renderings include: a nocturnal cemetery festooned with fluttering autumnal leaves, the viscerally chilly, fog and frost bitten ravine (you can almost watch your own breath smoke in merely watching it) where a hanged man is discovered, the vast shadowed Castle Borski depicted under a full moon with scudding clouds, to name but a few.

And Mr. Reed is ably abetted by production designer Bernard Robinson whose key piece in this film: the deserted inside of the self-same Castle Borski is a marvel of tattered armorial flags, dust laden furniture, and sinister mirrors. The musical score is also one of Hammer's best and most effectively understated.

But the film belongs to the incomparably lovely Barbara Shelley's "Carla Hoffman"--she of the sweeping pelisse seated on a gilded throne in the deserted castle. It is to be hoped that someday this accomplished beauty will receive all the retrospective attention surely due her. For now, suffice it to say, that few actresses in the history of cinema have constructed a portrayal so wholly and precariously based on an enigma, an enigma Miss Shelley consistently reveals in every gesture, expression and nuance, without allowing her character, "Carla" the possibility of even understanding it herself.

It isn't merely that her Carla is fatally charming and alluring, but decent and humanitarian as well, a victim, to be sure, but not at all in the degraded, naturalistic way that Jean Seberg's portrayal is in "Lilith" a film to which "The Gorgon" is frequently compared.

Much can always be found to admire in anything Miss Shelley does. For now let us just close with a passing note on her deportment, the absolute self control she exercises in her throaty, perfectly modulated voice and carriage. Would that actresses today would study her technique !!!!!!!!!!!

Watch her in her first confrontation scene with Peter Cushing in his parlor, where she accuses him of stonewalling during the inquest, just prior to the entrance of Paul's father--Professor Heinz. Merely observing her majestically exit the room after being introduced to the Professor is worth the whole price of admission!

Hammer’s THE REPTILE (1966) is a semi-remake of this one, and an improvement – for which the scriptwriter of THE GORGON, John Gilling, was upgraded to director. Typically, the DivX edition I watched was plagued by artifacts and a few jump-cuts (not to mention being in the odious pan-and-scan format); however, I was very glad to have finally caught up with it – especially in view of the DD Home Video company’s recent folding (this had been mentioned as one of a possible number of Columbia/Hammer DVD releases).

Peter Cushing is rather unsympathetic and pitiful here (but still commanding as ever); Christopher Lee (playing much older than his years and who only really comes onto the scene during the last half-hour) is his usual pompous self; Richard Pasco, then, makes for an unusual hero. As for the identity of the titular creature, Megera, this isn’t much of a mystery – since Barbara Shelley is virtually the only female in sight (and, conveniently, suffers from amnesia spells during the cycle of the full moon); Hammer does seem to have had their myths mixed up here, and isn’t Cushing rather negligent in having failed to prove his theory for five whole years?! Other notable cast members include police chief Patrick Troughton, Michael Goodliffe (as Pasco’s father, who along with his other son, falls victim to The Gorgon) and Jack Watson as Cushing’s over-eager aide.

In most aspects, this is a typical Hammer product from their 1955-68 heyday: rich-looking (production design courtesy of Bernard Robinson) but essentially undernourished – the monster ‘attacks’ being centered around one family unit, while the much-feared castle seems to be situated in the immediate vicinity of the local inn! Still, most of the Hammer stalwarts (above all director Fisher and composer James Bernard) are in good form – however, the two stars only interact in one brief scene and Roy Ashton’s make-up isn’t exactly great (which Fisher, astutely, generally films from a distance and, in fact, we only get to see her full figure at the very end).

Needless to say, I’d love to see this receive an official DVD release – along with my two most-desired Columbia/Hammer properties, namely TASTE OF FEAR (1961) and THE DAMNED (1963).