IMDb > The Gorgon (1964)
The Gorgon
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The Gorgon (1964) More at IMDbPro »

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Overview

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Director:
Writers:
John Gilling (screenplay)
J. Llewellyn Devine (original story)
Contact:
View company contact information for The Gorgon on IMDbPro.
Release Date:
17 February 1965 (USA) See more »
Genre:
Tagline:
A Monster With the Power to Turn Living Screaming Flesh Into Stone! See more »
Plot:
In the early 20th century, a Gorgon takes human form and terrorizes a small European village by turning its citizens to stone. Full summary » | Add synopsis »
Plot Keywords:
User Reviews:
A cinematic painting--a Gothic story in the genuine 19th century mode. See more (66 total) »

Cast

  (in credits order) (verified as complete)

Christopher Lee ... Prof. Karl Meister

Peter Cushing ... Dr. Namaroff
Richard Pasco ... Paul Heitz
Barbara Shelley ... Carla Hoffman

Michael Goodliffe ... Professor Jules Heitz

Patrick Troughton ... 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
rest of cast listed alphabetically:
Sally Nesbitt ... Nurse (uncredited)

Directed by
Terence Fisher 
 
Writing credits
John Gilling (screenplay)

J. Llewellyn Devine (original story)

Produced by
Anthony Nelson Keys .... producer
 
Original Music by
James Bernard 
 
Cinematography by
Michael Reed (director of photography)
 
Film Editing by
Eric Boyd-Perkins  (as Eric Boyd Perkins)
 
Production Design by
Bernard Robinson 
 
Art Direction by
Don Mingaye 
 
Makeup Department
Roy Ashton .... makeup artist
Frieda Steiger .... hair stylist
Richard Mills .... makeup artist (uncredited)
 
Production Management
Don Weeks .... production manager
 
Second Unit Director or Assistant Director
Bert Batt .... assistant director
Hugh Harlow .... second assistant director (uncredited)
Stephen Victor .... third assistant director (uncredited)
 
Art Department
Arthur Banks .... construction manager (uncredited)
Stan Banks .... master plasterer (uncredited)
Eric Hillier .... props buyer (uncredited)
Tom Money .... property master (uncredited)
Lawrence Wren .... master painter (uncredited)
 
Sound Department
Roy Hyde .... sound editor
Ken Rawkins .... sound recordist
Tom Buchanan .... sound assistant (uncredited)
Alan Thorne .... sound assistant (uncredited)
 
Special Effects by
Sydney Pearson .... special effects (as Syd Pearson)
Ray Caple .... special effects assistant (uncredited)
 
Stunts
Peter Diamond .... fight arranger
Peter Diamond .... stunt coordinator (uncredited)
 
Camera and Electrical Department
Cecil Cooney .... camera operator (as C. Cooney)
Albert Cowlard .... camera grip (uncredited)
Jack Curtis .... chief electrician (uncredited)
Tom Edwards .... still photographer (uncredited)
Anthony B. Richmond .... clapper loader (uncredited)
John Shinerock .... focus puller (uncredited)
 
Costume and Wardrobe Department
Rosemary Burrows .... wardrobe mistress
Molly Arbuthnot .... wardrobe supervisor (uncredited)
 
Editorial Department
James Needs .... supervising editor
David Nimmo .... assistant editor (uncredited)
 
Music Department
Marcus Dods .... musical supervisor
James Bernard .... musical director (uncredited)
 
Other crew
Pauline Harlow .... continuity
W.H.V. Able .... chief accountant (uncredited)
Ken Gordon .... accountant (uncredited)
Arthur Kelly .... studio manager (uncredited)
 

Production CompaniesDistributors

Additional Details

Also Known As:
Runtime:
83 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Mono (RCA Sound Recording)
Certification:
Australia:X | Finland:K-16 | Germany:16 (DVD rating) | Iceland:16 | Portugal:M/18 | Spain:T | UK:X (original rating) (passed with cuts) | UK:12 (video re-rating) (2010) | UK:15 (video rating) (1986) | USA:Approved (MPAA rating: certificate #20685) | West Germany:16 (nf)

Did You Know?

Trivia:
Michael Goodliffe who plays Richard Pasco's father in this film, is only 12 years older than Pasco.See more »
Goofs:
Continuity: When the nurse rolls Sasha's stone body in and hits her finger on the table she breaks off about 2/3 of the finger. Later the finger on the ground and the missing digit is the entire finger.See more »
Quotes:
Dr. Namaroff:We are men of science. I don't believe in ghosts or evil spirits, and I don't think you do, either.
Professor Jules Heitz:That's one of the most unscientific remarks I have ever heard. I believe in the existence of everything which the human brain is unable to disprove.
See more »
Movie Connections:
Referenced in Adjust Your Tracking (2013)See more »

FAQ

What does the opening prologue say?
Whose body does Magaera's spirit possess during those full moons?
Where is Vandorf?
See more »
33 out of 36 people found the following review useful.
A cinematic painting--a Gothic story in the genuine 19th century mode., 18 May 2006
Author: BrentCarleton

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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