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The Gorgon (1964)

Approved | | Horror | 17 February 1965 (USA)
In the early 20th century, a Gorgon takes human form and terrorizes a small European village by turning its citizens to stone.

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Writers:

(screenplay), (original story)
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Cast

Complete credited cast:
...
Prof. Karl Meister
...
Dr. Namaroff
Richard Pasco ...
Paul Heitz
...
Carla Hoffman
...
Professor Jules Heitz
...
Inspector Kanof
Joseph O'Conor ...
Coroner
Prudence Hyman ...
The Gorgon
Jack Watson ...
Ratoff
Redmond Phillips ...
Hans
Jeremy Longhurst ...
Bruno Heitz
Toni Gilpin ...
Sascha Cass
Joyce Hemson ...
Martha
Alister Williamson ...
Janus Cass
Michael Peake ...
Constable
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Storyline

In early-twentieth-century middle-Europe, villagers are literally becoming petrified. Although the authorities try to hush the matter up, it is apparent that at the full moon, Megaera, a Gorgon, leaves her castle lair and anyone looking on her face is turned to stone. When this fate befalls a visitor, experts from the University of Leipzig arrive to try and get to the bottom of it all. Written by Jeremy Perkins <jwp@aber.ac.uk>

Plot Summary | Plot Synopsis

Plot Keywords:

gorgon | stone | full moon | 1900s | legend | See All (65) »

Taglines:

The Gorgon petrifies the screen with Horror! See more »

Genres:

Horror

Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

17 February 1965 (USA)  »

Also Known As:

Gorgona  »

Box Office

Budget:

£150,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound Recording)

Color:

(Technicolor)

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Trivia

In 2016 was a re-release in Barcelona (Phenomena). The films was projected for 1 day in subtitled version and 35 mm. copy. See more »

Goofs

Megaera is an Erinýe, or Fury, not a Gorgon. The Gorgons were named Stheno, Euryale, and Medusa. See more »

Quotes

Professor Jules Heitz: I want to ask you a simple question.
Dr. Namaroff: Pleas...
Professor Jules Heitz: You were once a guest in my house in Berlin. You met both my sons - Bruno. in particular. You talked to him at some length.
Dr. Namaroff: I believe I did.
Professor Jules Heitz: What impression did you form of him?
Dr. Namaroff: Well, I thought he was...
[Pausing to light a match]
Professor Jules Heitz: Normal?
Dr. Namaroff: Why, yes, of course.
Professor Jules Heitz: Yet capable of murder?
[...]
See more »

Connections

Referenced in Attack of the Octopus People (2010) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
A cinematic painting--a Gothic story in the genuine 19th century mode.
18 May 2006 | by See all my reviews

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.

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!


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