Benedito Dias Rodrigues Creative plot easily inspired in old Greek's myth, Medusa here supplanted to another name Gorgon as movie's title and Megeara in the picture,the astonishing atmosphere allowed by Fisher in a colorful sets haunting by a moonlight,Cushing is fabulous in his role,also Barbara Shelley,but Christopher Lee was totally disagreement wiith the real character very older to him,also another plot's fail the main actor appears almost in last part of the picture,despite that the whole thing is delightful to every fan who loves Hammer!!Resume:First watch: 2018 / How many: 1/ Source: DVD / Rating: 7.25

GL84 Arriving in a small German hamlet, a scientist sent for his studies finds a rash of murders shortly afterward forces him to call upon his former professor for help, and together they find the cause to be a legendary mythological figure reawakened in modern times.For the most part this here is one of the best Hammer films, and provides some of the best that it has to offer. The main factor to help here is that the atmosphere in this film is completely off-the- charts, providing a ton of Gothic showcases for the film and giving it something to enjoy. The castle here is one of the best, combining everything that the ones employed from the past and it retains a great level of fear to it as it's an effectively creepy and tense place that has plenty to like about it with it's elaborate stone courtyards, giant statues, massive arch columns and stairways which make for a rather fine setting for the monsters' home-base while letting the decrepit, leaf-filled hallways create an imposing air of menace and dread that's welcomed in the best of the Gothic tales. That goes hand-in-hand nicely with the talk of the different curses affecting the area and the scenes of the first victims turning to stone in the castle walls where the howling wind and sweeping shots of the creature walking along the area makes for a rather dark and chilling Gothic setup. This one also works well at delivering the central mystery of the creatures' origin as there's the mythological connection to the true beings in history and then settling into the town under the false pretenses which is a rather intriguing and enjoyable section of the film. This has more scares in it than most Hammer offerings, which is a welcome site with this allowing for quite a large number of action scenes throughout here that ranges from the opening double-murder act on the couple to her father's confrontation with the creature and the other encounters here with the sudden appearance of the creature's reflection in the pond during a vicious and chilling shock scare which is quite fun. The finale here is also rather fun with the big sword-fight around the castle and the great manner of defeating the creature at the end makes for a really thrilling finish. These are the film's best points, but this here did have a few flaws to it. The fact that the amnesia angle in here is very weak is something of a weakness as it's just poorly thought-out, offers nothing of interest and just feels so tacked on to provide something to make the final battle more thrilling when it actually does nothing at all. The appearance of the Gorgon itself, when shown full-on near the end, is a slight let down, with this ancient-evil looking more like an old woman with too much make-up on and a rubber reptile filled wig. The snakes are very stiff in their movements and seem to be just wobbling around as opposed to writhing, and the cheesy puppet head during the ending decapitation, highlighting this, is just ridiculous. The short time makes it seem like more could've been done with it, but otherwise, these here are the film's flaws.Today's Rating/PG: Violence.

Nigel P From the opening credits, this could only ever be a Hammer film. James Bernard's trademark scores, a matte paining of a castle in the distance (which makes a very effective screensaver), a young girl in distress and Peter Cushing tinkering in an ornate laboratory: formulaic such an intro may be, but it produces an instant warm glow in retrospect – which is probably the polar opposite of the effect hoped for back in 1964.Wheeling in a fresh corpse, Nurse Hoffman (Barbara Shelley) is somewhat alarmed when the hand that falls from the stretcher breaks in half, as if it is made of stone. Pretty soon, the dead girl's bohemian fiancé has hung himself, revealed in close-up. The warm glow becomes distinctly frosty.So too, are the characters we meet in this production. On seeing the Medusa, or more specifically her glare, characters become aged. That is, they appear to be sprinkled with talcum powder in a cheap looking effect that is never convincing. Christopher Lee's Professor Karl Meister comes already doused in talc, to lend maturity to such a man of learning, pompous and aloof. Even the avuncular Cushing is starchy in this. Only Richard Pasco succeeds in injecting some naturalism into his role, the almost-hero Paul Heitz. We cry out for a Michael Ripper or a Miles Malleson cameo to lighten up the mood.Whilst professional and polished, the production is somewhat perfunctory, and there is a damning coolness to the sporadic 'scares' – whereas in reality, only the finale, with Barbara Shelley's transformation into the deadly Megaera, succeeds in providing any shivers, and the less than stellar realisation of the creature – complete with adorable plastic snakes - ensures that even the climactic scares are pretty bloodless (which, considering Hammer caused a sensation in the late 1950s with its blood red horror that in turn both repulsed and fascinated audiences, is disappointing). Like 'Curse of the Werewolf (1960)', the thrills are strictly confined to the last ten minutes, which is asking too much of this particular audience member.

thinker1691 The Hammer studios of the 1960's produce some of the most colorful Classic movies which went on to endear a plethora of audiences to their work. Among the most notable pair of actors which made themselves household names were the duo of the late great, Peter Cushing and still working Christopher Lee. Among their finest work which have stood the test of time, is this early offering. The film is called " The Gorgon ", written by J. Llewellyn Devine and directed by Terence Fisher. It revives a horrific and ancient myth concerning the last of three tragic sisters who had been cursed. Originally, they were beautiful, but were transformed into hideous monsters. Anyone who dared to looked upon their faces, were instantly turned into solid stone. In this modern version, Dr. Namaroff (Peter Cushing) has discovered the ancient spirit has returned to the town and has begun murdering victims. With the death of his son Paul, Professor Jules Heitz (Michael Goodlife) arrived in the town only to discover the townsfolk terrorized and little cooperation from Inspector Kanof (Patrick Troughton) or the authorities. Christopher Lee, plays Prof. Karl Meister a courageous man of action who learns of the re-incarnation of the Gorgon (Barbara Shelley) as Carla Hoffman and decides to seek her out. Veteran actor, Jack Watson, plays Ratoff, Cushing able assistant. Together, the fine cast, creates enough drama, excitement and mayhem to establish this Hammer film as a definite Classic. ****