Lo sguardo che uccide

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).

The Gorgon may not be a personal favourite from Hammer, but it is still a film well worth watching, and along with Curse of the Werewolf it's among Hammer's most under-appreciated.

Admittedly, the story is absurd and occasionally could have been more eventful. The ending felt rushed and abrupt. And while the Gorgon was scary at first, by the end she did look rather cheaply made-up and more goofy and menacing. The snakes agreed did look fake, and the true identity of the Gorgon was made a bit too obviously too early.

On the other hand, the Gorgon aside, The Gorgon is quite well-done visually, with splendidly Gothic sets, sumptuous period detail, shadowy and bold lighting and beautiful and atmospheric photography. Fisher, the most frequent of Hammer's directors and for me their best, directs with a fine sense of atmosphere and dread, some parts are incredibly suspenseful, while not forgetting to make things fun too. Hammer regular James Bernard provides a music score that's jaunty but also booming with hauntingly thrilling effect, a highly effective score that fits with the mood like a glove.

The script is poetic and thought-provoking, with a number of funny and menacing lines from Meister that don't feel out of place (Meister's line about using long words and his answer to Heitz's 'I've been ill' did get a good laugh). It also didn't feel too talky, like some Hammer films can do, and the suspense level is never dropped too much. As silly and absurd the story can be, it very rarely harms the atmosphere which is tense and unnerving and didn't feel too predictable. While the characters are not the most well-developed, they are ones that are not too hard to care for.

It is because of the great performances from a talented cast that play a large part of as to why that is. Peter Cushing's dignity and restraint was very much appreciated and Christopher Lee performs with terrific gusto, and relishes his dialogue. Richard Pasco has fun too, Prudence Hyman horrifies as the Gorgon and Barbara Shelley has got to be Hammer's best ever femme fatale. Patrick Troughton, more than just a cameo this time, is great as well.

All in all, The Gorgon is not flawless but it's a good film with a lot of merits, and has to be one of Hammer's most under-appreciated. 7/10 Bethany Cox

I have to say that I'm really surprised that The Gorgon isn't one of the better known Hammer Horror films. Aside from the fact that it stars Hammer's two biggest actors - Christopher Lee and Peter Cushing - The Gorgon also features a fairly original cinematic monster, and it makes for a great fun watch! This film reminded me a lot of The Reptile in the way it plays out, in that it focuses on a mystery surrounding the central monster. It has to be said that, like a lot of Hammer Horror films, the plot is very simplistic; but that's hardly a problem as there's plenty to enjoy outside of the plot in this film. As the title suggests, the film focuses on a mysterious 'Gorgon', a woman with a head full of snakes that can turn people to stone just by looking at them. She's creating quite a problem for the local village, as citizens begin turning up dead - but unlike most dead people, they've turned to stone! The authorities try to cover it up, but as the murders continue, the son of one of the victims decides to investigate.

The film is very typical of Hammer in that it features a lush colour scheme and a lot of eerily Gothic settings. The Gorgon is directed by Hammer's most prolific director, Terence Fisher, and as usual - he does a solid job. The fact that this film stars both Peter Cushing and Christopher Lee is definitely to its advantage, although it is unfortunate (as is the case with many of their joint ventures) that they don't get to spend a lot of screen time together. Neither one is at their very best; but even Lee and Cushing on autopilot makes for great viewing, and neither one disappoints. It has to be said that the special effects are a bit shoddy and the monster doesn't look particularly scary; but stuff like that is part of the charm of Hammer Horror, and personally - I wouldn't have it any other way! It all boils down to a pretty standard conclusion, but while nothing about this film stands out too much next the rest of Hammer's output - it still stands up as a more than decent little horror film and I'm certain that my fellow Hammer fanatics wont be disappointed with it!

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.

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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