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
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