Die brennenden Augen von Schloss Bartimore

The Gorgon ranks among Hammer's very best. Its premise is daring and imaginative - a female spectre so hideous that all who gaze on her are turned to stone, a power even more unnerving than the physical ferocity of lycanthropy or vampirism.

It boasts a wealth of Hammer expertise: Peter Cushing and Christopher Lee are at their peak; John Gilling scripted lucidly; James Bernard's score is one of his finest, the familiar overwrought strings underlaid with a spectral organ effect; and Michael Reed's pathecolor photography defines the Hammer ‘look', all sombre interiors and gorgeous autumnal forests. But the triumph is finally director Terence Fisher's.

The film begins beautifully with the credits superimposed against the twilit battlements of Castle Borski. Other touches fleetingly capture the mood of gothic-romantic literature. Professor Heitz beguiled into the forest by the Gorgon Magaera's distant siren-call. Her reflection glimpsed through the dead leaves floating on a mill pond. The encounter by moonlight in the graveyard between Richard Pasco and Barbara Shelley.

The Gorgon is certainly one of Hammer's most pessimistic entries. The setting is turn-of-the-century Middle Europe and the production-design more Teutonic than ever (Hammer, ever economical, transposed the monster of Greek classical myth to their familiar Germanic milieu). When we join the story the village of Vandorf has been under Magaera's baleful spell for seven years. Much of the action takes place in a repressive asylum. And Castle Borski is not the richly appointed seat of other Hammer films but a broken windswept ruin.

Characterisation is equally unrelenting. Cushing's Dr Namaroff is a more ruthless and maniacal variation of Van Helsing. Lee's Professor Meister , though gruffly benevolent, is overbearingly fatalistic. Meanwhile the most sympathetic characters - Carla, Paul, his father and brother - are all killed.

OK, inevitably the Gorgon's makeup is weak (though it scared me when I first saw it at age 11). The sickly green palor and spidery wrinkles are good, but the snake-hair just looks like she washed it the night before and couldn't do a thing with it. Half-glimpsed, her first appearance is remarkably effective, though. Her graceful tiptoe from behind the cobwebs in ghastly counterpoint to what we know will be her terrible visage. A sudden shock close-up and she disappears - almost glides - back into the shadows in long shot, a sequence as well done as anything Fisher has ever constructed. Alas, audience expectation (something Hammer usually deferred to) demanded a full-facial exposure at the end.

The temptation would be to say that The Gorgon might have worked better in black and white - but that would be to deny Michael Reed's disciplined use of colour. Perhaps only today's enhanced computer-graphics could properly pull off the effect required.

That flaw apart, The Gorgon survives as an early Hammer classic that can stand alongside Dracula, Brides of Dracula and The Hound of the Baskervilles.

As mentioned by many, the Gorgon is not your typical scare-fest horror film. It's driving force is its atmosphere, its lore and understanding various subplots. Cheaply made, the film has no doubt turned some to stone-cold hysterics with its campy effects and home movie-like makeup of the creature. While the story has wonderful elements of mystery and lure, it never reveals certain motivations. For example, why has the Gorgon's spirit returned to earth? What is the Cushing character's intentions? Many of the story's characters know the myth behind the murders (how many variations are there to a creature turning a man to stone with her gaze?), so controlling the creature was no revelation. But all that aside, the film's theme is captivating. If you don't expect a monster movie, but view this film as a mystery based on folklore and with a haunting backdrop, you too will be delighted with this hidden gem. There is a scene in castle, when Mageara first appears and we catch glimpses of her peeking out at a prospective victim. It's a tantalizing prelude to the terror to come. But the scene that had me mesmerized , and that singularly crystalizes the Gorgon's chilling presence is when she has turned a character with her demonic stare, then seemingly drifts back into the shadows. It is a strangely beautiful scene. The Gorgon, called the Mageara, is a true mystery. She has no emotion, no true motivation, and she is not shown stalking her prey. Like a black widow in human form, she merely waits for (perhaps even lures) innocent souls to come to her parlor. Mageara seemingly in incapable of harming man, except for her petrifying gaze; she quietly floats about the castle. If I were to remake this film, I would tell the story from the perspective of the female host, and the struggle to understand her curse. There is sheer tragedy in what Hammer has presented, and I find myself looking upon many of the story's characters with sense of sadness and doom. Finally, I want to say that I wish the stone victims could have turned quickly, like those poor souls in the film "Thief of Baghdad," with Steve Reeves. Oh well, just a last thought.

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

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).

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.