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Most Helpful Customer Reviews
14 of 14 people found the following review helpful:
5.0 out of 5 stars
"The Gorgon" is Terrence Fisher's "Vertigo".,
This review is from: The Gorgon [VHS] (VHS Tape)
Terrence Fisher has brought to the screen a story of doomed love and a schizoid protaganist that places thematic themes from Hichcock's "Vertigo" within a Grimm's fairy tale for adults. 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. Indeed, the cinematography and particularly the lighting are amongst Hammer's best. 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!
8 of 8 people found the following review helpful:
4.0 out of 5 stars
The House of Horror does it again,
By
This review is from: The Gorgon [VHS] (VHS Tape)
Hammer's 1964 The Gorgon is crying out for a DVD widescreen release on both sides of the Atlantic. This underrated film is a mesmerizing fantasy that brings together ancient mythology and Hammer's best gothic style under the expert direction of stalwart Terence Fisher.
Production looks great, even if it is unfortunately studiobound. The film has a definite fairy-tale-like quality to it, confirming Fisher's reputation as a maker of "fairy tales for adults". Lee is a tad uncomfortable in a fairly untypical role here, but Cushing excels as the ambiguous anti-hero Dr Namaroff. Michael Reed lights and photographs the production beautifully and with great atmosphere, lending Hammer some of its most poignant moments.
8 of 8 people found the following review helpful:
4.0 out of 5 stars
"Fisher's Most Dream-Like Film Piece.",
By A Customer
This review is from: The Gorgon [VHS] (VHS Tape)
The Gorgon, an atmospheric, melancholy little film, reunited the three main talents behind the initial wave of Hammer horror film-actors Peter Cushing and Christopher Lee, and Director Terence Fisher-for the first time since 1959's The Mummy. The screenplay by John Gilling, a talented Hammer writer and director, emphasizes the doomed love between Carla and Paul at the expanse of the monster tale, a choice that was particulary congenial to Fisher's gentle romanticism. The screenplay was heavily rewritten by Anthony Hinds, and Gilling, never shy in interviews, once called the resulting film "abysmal," stating that Hind's interference "murdered what might have been a very good movie." While this judgment seems too harsh, the script as filmed does feel like a patchwork. To cite just one example, we never learn who hanged Bruno or why. Whats more important, the love story isn't really developed fully enough, although fine acting by Barbara Shelley and former Royal Shakesperean Richard Pasco goes a long way toward filling in the gaps. In particular, Pasco's measured, careful performance and magnificently resonant voice make him fitting company for Cushing and Lee. Unfortunatley, the gorgon makeup is a bland and clumsy rendition of the traditional character of myth, which is to say a woman in a nightgown with several rubber snakes in her hair-not exactly a blood-curdling sight. As for the stars, there's an odd and refreshing role reversal; for a change, Cushing gets the sketchy, unrewarding role, although he ably conveys Namaroff's cold-fish nature. Lee is always more intresting when playing againsit type, and here he's clearly having a good time as the hero, blustering and using his physically imposing quality to memorable effect. Also worth noting is James Bernard's haunting score, which is subtler and more finely textured than most of his works for Hammer. The Gorgon was a personal favorite of Terence Fisher's, and something of a comeback film, he hadn't mad a movie for Hammer since the crtical and box-office failure of his Phantom of the Oprea, two years before. Despite it's effects problems and a lack of overt horror thrills, The Gorgon deserves credit as an ambitious attempt to create a new and different monster for the screen. In it's best moments, The Gorgon weaves a rather sweet spell of wistfulness and regret that makes it Fisher's most dream-like, and one of his most noteworthy efforts.Rating: 4 1/2 out of 5 Grade: A- 92%
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