Posesión diabólica

I have noticed a lot of rubbish written about this movie: its NOT a Hammer production (it's from Tyburn) although a lot of Hammer-regulars are involved in it; director Freddie Francis is NOT the brother of producer Kevin Francis, but his father; the only similarities between Alfred Hitchock's Psycho and this movie are a female lead-actress (Veronica Carlson of Hammer's Dracula Has Risen from the Grave and Frankenstein Must be Destroyed-fame) who is killed halfway through the movie after we have become to root for her and who's disappearance is investigated by people who knew her, and an atmospheric house which contains a supposedly hideous secret. Peter Cushing gives a great performance, mixing real-life emotions with acting (his sadness about his departed wife of which he show photographs to Veronica Carlson and which are photographs of his real wife who had died in 1971, is really hard to watch if you are familiar with the background-information); John Hurt is also great although his character is nothing more then a red herring; Gwen Watford gives a nice performance of a Hindu-housekeeper which is not sinister in herself but treated as sinister because Hindoes were considered sinister in the time-period the movie is set in. The Ghoul himself will be undoubtedly a let-down for gore-seekers; although he is cannibalistic, he turns out to be more of a sad retard than a monster. The element which makes this film a cult-classic is the sadness which pervades every scene once we have made entrance to the house; not any other movie, to my knowledge, makes the same impact of sadness and doom which are presented here through characterizations, surroundings and even time-period. It's a gem, worthy to seek out, but be warned: only one viewing may not be enough to appreciate it ! You have to take your time for it and watch it several times (with intervals)... It may haunt you...

We are in the world of Hammer Production now subtly calling themselves Tyburn , dealing with some drivers after a local auto race begin disappearing . Violin player ex-missionary : Peter Cushing arrives back from India with a mystical Hindu servant and a horrible secret. Bright young things crash their motor outside the front gate and are whisked away in by poor man : John Hurt. The unfortunate youngsters are lost on the marshes that long time ago were used by the army as a training area. But they wind up at a worst place, at the dark mansion where stalks terrible secrets.

This Horror film contains thrills, chills , brisk frames, blood and gore. A familiar script full of shocks, screams and surprises by John Elder and remarkable presence by the splendid Peter Cushing , as he enhanced everything he was in . Nice settings and production design, including moorland scenes completed with smoke bomb billowing away just out of camera . Cast is pretty good, the always great Peter Cushing as a defrocked clergyman, the picture improves immensely once he shows up, he was born to act in movies like this , the Hammer girl Veronica Carlson, Alexandra Bastedo , Ian McCulloch , Glenn Watford as a religious Hindú and sadly wasted John Hurt as the lunatic family gardener .

The picture displays a colorful but dark cinematograhy by John Wilcox with full of foggy ambient . As well as thrilling and suspenseful musical score by Harry Robertson and conducted by regular Philip Martell . The motion picture written by John Elder or Anthony Hinds was professionally directed by Freddie Francis who usually worked with Peter Cushing . He was a good director and a prestigious cameraman . Freddie made a lot of terror films , many of them starred by Peter Cushing , such as : The Creeping Flesh, Craze, Paranoiac, The Skull , Witness madness , Son of Dracula, Legend of the Werewolf , Trog , The Deadly Bees , Dracula Has risen from the Grave , Tortura garden , Hysteria , Docotor Terror , Nightmare , The Evil of Frankenstein, The Brain, Doctor and the Devils , Tales from the crypt , Crypt tales . Rating : 6/10 . Passable and acceptable . The flick will appeal to Peter Cushing fans .

How odd this is. It fits in the very broadest of terms into the "creepy old house" genre of films as we're mostly treated to major Bad Vibes about the goings-on. There's no readily apparent explanation the odd behavior that the characters at the manor illustrate; definitive eventfulness is scattered, and left vague and unexplained for much of the length. All does come into clarity, but not until the last ten minutes. All this follows from exposition of a very different tone than I'd have ever expected. In a similar vein, it's not easy to find the words with which to describe 'The ghoul.' The production design and art direction are outstanding, certainly; though some specific moments are perhaps too overexcited, I admire the cinematography and editing. The cast give strong performances, I believe, demonstrating severe personality of one manner or another; John Hurt especially stands out given the playful yet menacing idiosyncrasies of his role. And what else? Just as the feature cloaks its horror in substantial mystery, I'm not completely sure how to even feel about it.

How much of this murkiness is written into Anthony Hinds' screenplay, and how much of it was manifested through Freddie Francis' direction, is up for debate. One way or another I admire the work put into the picture in and of itself, and moreover the discrete effort to wash over the narrative with such abject secrecy. The story we get is ultimately absorbing, compelling, and satisfying: both the whole tale as it presents, the wisps of plot that are mostly reserved for the last minutes, and the obfuscation thereof. Through it all the picture maintains an air of foggy unease that's peppered with acts of violence, and all this crystallizes in a climax that's pointedly dark. And still - that everything is reserved for those last minutes means the climax feels a little overfull. And for as well done as everything is here, it all just feels off, like all the component parts are kluged together in an arrangement that continually veers one way or another from its center of gravity. I do actually quite like 'The ghoul,' yet it's rather a strangely atypical viewing experience.

I think it's enjoyable, and worthwhile on its own merits. I also think this is apt to find less appeal with the average horror audience. As familiar as it is, with recognizable strains, in one fashion or another 'The ghoul' is also a tad peculiar. It's a good bit of fun - just maybe not for everyone.

England during the 1920s.At a party, two bored men challenge each other to a car race to Land's End.But one of the cars breaks down.Daphne Wells-Hunter walks to the nearby country estate to find help and meets Dr Lawrence,a former missionary to India,who lives in seclusion there. But then she is killed by the bald,cadaverous man that Lawrence keeps locked in an upstairs room and her companion is pushed over the cliff in the car.Their friends come looking for them and refuse to believe Lawrence's explanation that it was an accident.Interesting British production from Tyburn Films,founded by Kevin Francis.Not much is ever explained about cannibalistic ghoul hidden on the attic.The atmosphere of strangeness amid the mist-flowing moors is certainly well evoked and Peter Cushing gives a memorable performance as always.I have seen this film for the first time as a kid and it really creeped me out.8 out of 10.

At a party in the 1920s, two dizzy couples challenge each other to a car race to Land's End. But the race ends in fog near a lonely, dark mansion where Peter Cushing offers hospitality at a gruesome price!

A seriously underrated horror film that boasts some great atmosphere, swirling mists across the moor, the dread and an engaging story, but the pace can be slow at times. However, generally this is a good chiller that also features some gory moments, if only towards the end. Loved the 1920's setting. Peter Cushing acts superbly, like usual, and looks quite melancholic. His wife had died recently. In the scene the woman in the photo is his wife.