O Carniçal

First off this is NOT a remake of the 1933 film "The Ghoul" starring Boris Karloff - this is a completely different movie all together - one has nothing to do with the other.

Secondly this 1975 film starring Peter Cushing "The Ghoul" is also known as "Night of the Ghoul".

Third: This film is actually a good horror film. Not only because the great Peter Cushing stars (and is outstanding in it) but John Hurt's performance in this is very convincing as well. Gwen Watford is good in this movie too. The movie is worth watching if you like horror.

Fourth: The sad trivia behind Peter Cushing's performance: There is a photo in the film which is/was Cushing's wife Veronica Carlson who died in 1971 - so Cushing's emotions were real at this point and not an acting job. It is said that this also effected the emotions of others on the set.

8.5/10

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.

"The Ghoul" was produced by Tyburn Films - one of the British Horror Companies that spurted up in response to Hammer Studio's worldwide Gothic horror movie success. This one should be of immediate interest to anyone who likes those films as it stars Hammer veteran Peter Cushing, Hammer starlet Veronica Carlson and is written and directed by Hammer stalwarts Anthony Hinds and Freddie Francis.

Ghoul begins at a roaring 1920's party where four bored guests decide to go drag racing and wind up at a strange mansion in the forest where a former priest (Cushing) resides with his creepy Indian housekeeper (brilliantly portrayed by Gwen Watford), and sadistic groundskeeper (a very early role by John Hurt). Now, I'm sure some of you may be raising your eyebrow and thinking "that tired story again?" - but as anyone who likes these kinds of movies knows, its all about the execution and this one's got it nailed down perfectly.

There are some gory surprises, nice Gothic stylings, and excellent performances nestled inside of this very vague, very familiar story. Alexandra Bastedo, is particularly wonderful as one of the feisty teenagers, ethereally beautiful Carlson is always a joy to watch and Cushing gives one of his finest turns ever here. Anyone who likes Hammer movies or Gothic horror in general would be well-advised in seeking out this lost treasure that for some reason, in spite of its stellar cast and production crew, has escaped a genuine DVD release in any country.

This is the first film from Tyburn Productions (a supposed latter-day successor to Hammer and Amicus; they also had Peter Cushing starring in Legend of the Werewolf(1975) and Masks of Death(1984)).

This has to rank as one of Peter Cushing's most memorable performances - his role is portrayed with such dedicated nervousness and emotion, that the viewer immediately gets his sympathy.

The female photographs used in the movie are of his real wife Helen, who had passed away in 1971. The tears that Peter Cushing sheds in this film are for real and it did affect the rest of the cast quite deeply.

Aside from this, the plot stumbles along with yawning gaps of pointless dialogue and actionless scenes, until the Ghoul is revealed at the end. It's not really worth the wait!

Watch it only for a dedicated professional at work who steals all the scenes and makes a poor film seem passable.

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 .