In 18th-century England, the Royal Crown sends Royal Navy Captain Collier and his crew to investigate reports of illegal smuggling and bootlegging in a coastal town where locals believe in Marsh Phantoms.
Peter Graham Scott
When Castle Dracula is exorcised by the Monsignor, it accidentally brings the Count back from the dead. Dracula follows the Monsignor back to his hometown, preying on the holy man's beautiful niece and her friends.
Baron Frankenstein is once again working with illegal medical experiments. Together with a young doctor, Karl and his fiancée Anna, they kidnap the mentally sick Dr. Brandt, to perform the ... See full summary »
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 <email@example.com>
In Spain, this movie was re-released in cinemas in 2003. This movie was released in Barcelona (Cines Verdi) for four days in midnight sessions and Madrid in 2004 (Pequeño Cine Estudio) for seven days. Only in subtitled version. See more »
Megaera is an Erinýe, or Fury, not a Gorgon. The Gorgons were named Stheno, Euryale, and Medusa. The film states that there are two deceased Gorgons, Medusa and Tisiphone. The Erinýes are named Alecto, Megaera, and Tisiphone, and there are no stories of them being killed. The Erinýes had snakes for hair, which may have resulted in the confusion. They are best known from Agamenon's _The Eumenides_, which means The Kindly Ones, a euphemism for the Erinýes, immortals who avenge intrafamilial murder. See more »
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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