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The Gorgon (1964)

Approved  |   |  Horror  |  17 February 1965 (USA)
6.5
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Ratings: 6.5/10 from 2,963 users  
Reviews: 67 user | 47 critic

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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(screenplay), (original story)
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Title: The Gorgon (1964)

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Cast

Complete credited cast:
...
Prof. Karl Meister
...
Dr. Namaroff
Richard Pasco ...
Paul Heitz
Barbara Shelley ...
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 | Add Synopsis

Plot Keywords:

gorgon | stone | full moon | 1900s | legend | See All (64) »

Taglines:

She had a face only a mummy could love! 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  »

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

Prudence Hyman was nearly decapitated for real. She was supposed to duck when Lee swung the sword but forgot to do so at the critical moment. The assistant director pushed her aside just in time. The scene was then redone with a dummy. See more »

Goofs

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

Quotes

Prof. Karl Meister: [Contemptuously to Inspector Kanof] Don't use long words, Inspector; they don't suit you.
See more »

Connections

Featured in Teeth (2007) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Eerie and Haunting
24 August 2000 | by (Redondo Beach, Calif. USA) – See all my reviews

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.


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