Greetings and salutations, and welcome to my review of 1975s The Ghoul.
Before I get into the review, here are my ratings for the movie.
The story gets 1.25 out of 2: The Direction a 1.25: The Pacing receives a 1: While the Acting gets 1.5: And my Enjoyment level earns a 1.25 out of 2: The totals bring The Ghoul to 6.25 out of 10.
The Ghoul is far from being a Horror movie as there's a scarcity of scares. However, what it lacks, in frightfulness, it makes up within drama and intrigue. There's a tremendous amount of pre-story before we get to its heart. The writer, Anthony Hinds, decided to start this sordid tale of a dead-eater at a party. At this celebration, Hinds introduces us to the three leading players in our story. Geoffrey, Daphne, and Angela, oh and Billy, who doesn't last too long because he's donned the Red Shirt in this film. Daphne decides a race to Lands End would be a super way to conclude the nights' entertainment. She teams up with Billy in his new Sportster. While her boyfriend Geoffrey rides with Billy's sister Angela. There's a decent race sequence, where we watch a couple of 1920s autos vie for first place. After an exciting overtake, Geoffrey has to pull over because poor old Angela is feeling a tad travel sick. They really shouldn't have guzzled down all that champaign at the party.
Ah, the 1920s; where you could not only drive drunk but race... and without seatbelts.
Before long, however, Daphne and Billy are lost in a thick English pea-souper while crossing the moors. Running out of petrol, Billy realises how fortunate they were as there's a cliff edge a few feet in front of them. Daphne commands him to grab the gas can and hunt out a garage and some petrol. Bored, Daphne stretches her legs. While walking, she encounters a stranger who warns her to be careful and to not enter the big house, which she's spied through the fog. Disregarding him, she sets off through the main gate. The stranger has to result in knocking her unconscious to stop her.
From this point forward, the story follows a darker path. There's a secret in the mansion, and all the inhabitants are acting slightly peculiar. It's these characters that make The Ghoul an above-average movie. I particularly enjoyed the fact that Hinds structures his persona's thoroughly. Except for Billy, everybody increases the strength of the story. Daphne is a strong-willed woman with a mind of her own. She's used to getting her way. And she's curious and intrigued by the people in the house. Geoffrey is your typical hero. A rigid moral code instilled by his serving in the armed forces. He possesses a deductive mind, and instinctively knows when things are erroneous. Angela is your waif. Though she's overly unconcerned about much around her, she possesses a strong survival instinct. Doctor Lawrence hides secrets within himself. Sinister mysteries, which have shaken him to the core of his religious beliefs, Tom Rawlings distrusts and abuses humans. He cares more for his animals and plants. He is cunning and conniving. The beater of women and the sly killer of men. Ayah is the native Indian servant how looked after Doctor Lawrence's family when they lived in India. She has an extensive selection of sharp knives, and likes to be in command. What is her role in this strange household?
Director Freddie Francis carries out a passible job with the direction. He expertly handles both the race sequence and the fog scenes. I relished the way he hid Tom in the fog. Daphne passes close to the peculiar figure without realising. Francis shows her pass, then a breeze disturbs the fog, and we observe Tom's shadow, statue still, watching. It's quite unnerving. Francis is excellent at employing natural shadows to create a creepy atmosphere. The ambience is chiefly evident in the family chapel. It's a shame he didn't exercise these techniques for the horror elements. In fact. it's the horror sections that impede the film. When the Big Bad Ghoul, is released from confinement, Francis hints at the creatures malformity by showing his scared and deformed sandaled feet. The scene works to a slight degree. It made me wonder what The Ghoul may look like. Then upon reaching the killing scenes, all his hard work crumbles away. The stabby-stabby scenes are verging on the weak and pathetic. The first kill is extremely familiar: Refer to Hitchcock's Psycho Shower Scene. As The Ghoul repeatedly stabs the victim through a mesh curtain of a four-poster bed. Regrettably, it possesses none of the power that Hitchcock's did. I was left deflated. WOW, that was crap, I thought.
Francis even documents it in the same fashion. We never see the knife or the victim in the same scene. Each shot within the scene is brief. The segments could be stills, but each includes a slight manic movement. However, they all needed to be framed and composed better. Subsequently, when we see the Ghoul in all his ghoulish gory glory, it's such a disappointment. This Ghoul is one of the most inferior monsters in movie history. They required an actor who could show a deadness in his eyes. And, what was up with the green paint? It looks as though the makeup artists hadn't ordered enough body paint, so they decided to add a generous green dollop to his face. The face of The Ghoul was more cringeworthy and laughable than scary and scream-worthy.
At least the cast was superb. I have to convey tremendous respect to Veronica Carlson, who plays Daphne. Carlson is the standout actress in this film. She imparts depth and life into her character, and the way she plays off her fellow actors and actresses is wonderful.
Next, we have Ian McCulloch as Geoffrey. McCulloch's skills allow him to convey the required authority and strength. You know Geoffrey is a hero.
The great Peter Cushing produces a pleasant edgy, and anxious Doctor Lawrence.
While Gwen Watford sublimely insinuates an ominous and mysteriousness into Ayah.
John Hurt bestows the audience with his foxiest best in his role as Tom.
And, Alexandra Bastedo is ideal as the waify Angela.
Though I was unhappy with the horror elements in this movie, I give Kudos to the story, characters, and actors and actresses. The Ghoul is worth one watch. That said, don't rush out to track it down. If you're a newbie to horror, I'd suggest staying away from The Ghoul. Otherwise, you might never return to the genre. Track down some of the better and earlier Gothic horrors to entertain you. Then proceed on to this movie and watch it for the storyline, intrigue, and mystery. Because it's these elements that make The Ghoul enjoyable.
Jump in your roadsters and race on over to my Absolute Horror, Killer Thriller Chillers, and Dramatisation Of Life lists to see where this slipshod horror ranked.
Take Care & Stay Well.
Before I get into the review, here are my ratings for the movie.
The story gets 1.25 out of 2: The Direction a 1.25: The Pacing receives a 1: While the Acting gets 1.5: And my Enjoyment level earns a 1.25 out of 2: The totals bring The Ghoul to 6.25 out of 10.
The Ghoul is far from being a Horror movie as there's a scarcity of scares. However, what it lacks, in frightfulness, it makes up within drama and intrigue. There's a tremendous amount of pre-story before we get to its heart. The writer, Anthony Hinds, decided to start this sordid tale of a dead-eater at a party. At this celebration, Hinds introduces us to the three leading players in our story. Geoffrey, Daphne, and Angela, oh and Billy, who doesn't last too long because he's donned the Red Shirt in this film. Daphne decides a race to Lands End would be a super way to conclude the nights' entertainment. She teams up with Billy in his new Sportster. While her boyfriend Geoffrey rides with Billy's sister Angela. There's a decent race sequence, where we watch a couple of 1920s autos vie for first place. After an exciting overtake, Geoffrey has to pull over because poor old Angela is feeling a tad travel sick. They really shouldn't have guzzled down all that champaign at the party.
Ah, the 1920s; where you could not only drive drunk but race... and without seatbelts.
Before long, however, Daphne and Billy are lost in a thick English pea-souper while crossing the moors. Running out of petrol, Billy realises how fortunate they were as there's a cliff edge a few feet in front of them. Daphne commands him to grab the gas can and hunt out a garage and some petrol. Bored, Daphne stretches her legs. While walking, she encounters a stranger who warns her to be careful and to not enter the big house, which she's spied through the fog. Disregarding him, she sets off through the main gate. The stranger has to result in knocking her unconscious to stop her.
From this point forward, the story follows a darker path. There's a secret in the mansion, and all the inhabitants are acting slightly peculiar. It's these characters that make The Ghoul an above-average movie. I particularly enjoyed the fact that Hinds structures his persona's thoroughly. Except for Billy, everybody increases the strength of the story. Daphne is a strong-willed woman with a mind of her own. She's used to getting her way. And she's curious and intrigued by the people in the house. Geoffrey is your typical hero. A rigid moral code instilled by his serving in the armed forces. He possesses a deductive mind, and instinctively knows when things are erroneous. Angela is your waif. Though she's overly unconcerned about much around her, she possesses a strong survival instinct. Doctor Lawrence hides secrets within himself. Sinister mysteries, which have shaken him to the core of his religious beliefs, Tom Rawlings distrusts and abuses humans. He cares more for his animals and plants. He is cunning and conniving. The beater of women and the sly killer of men. Ayah is the native Indian servant how looked after Doctor Lawrence's family when they lived in India. She has an extensive selection of sharp knives, and likes to be in command. What is her role in this strange household?
Director Freddie Francis carries out a passible job with the direction. He expertly handles both the race sequence and the fog scenes. I relished the way he hid Tom in the fog. Daphne passes close to the peculiar figure without realising. Francis shows her pass, then a breeze disturbs the fog, and we observe Tom's shadow, statue still, watching. It's quite unnerving. Francis is excellent at employing natural shadows to create a creepy atmosphere. The ambience is chiefly evident in the family chapel. It's a shame he didn't exercise these techniques for the horror elements. In fact. it's the horror sections that impede the film. When the Big Bad Ghoul, is released from confinement, Francis hints at the creatures malformity by showing his scared and deformed sandaled feet. The scene works to a slight degree. It made me wonder what The Ghoul may look like. Then upon reaching the killing scenes, all his hard work crumbles away. The stabby-stabby scenes are verging on the weak and pathetic. The first kill is extremely familiar: Refer to Hitchcock's Psycho Shower Scene. As The Ghoul repeatedly stabs the victim through a mesh curtain of a four-poster bed. Regrettably, it possesses none of the power that Hitchcock's did. I was left deflated. WOW, that was crap, I thought.
Francis even documents it in the same fashion. We never see the knife or the victim in the same scene. Each shot within the scene is brief. The segments could be stills, but each includes a slight manic movement. However, they all needed to be framed and composed better. Subsequently, when we see the Ghoul in all his ghoulish gory glory, it's such a disappointment. This Ghoul is one of the most inferior monsters in movie history. They required an actor who could show a deadness in his eyes. And, what was up with the green paint? It looks as though the makeup artists hadn't ordered enough body paint, so they decided to add a generous green dollop to his face. The face of The Ghoul was more cringeworthy and laughable than scary and scream-worthy.
At least the cast was superb. I have to convey tremendous respect to Veronica Carlson, who plays Daphne. Carlson is the standout actress in this film. She imparts depth and life into her character, and the way she plays off her fellow actors and actresses is wonderful.
Next, we have Ian McCulloch as Geoffrey. McCulloch's skills allow him to convey the required authority and strength. You know Geoffrey is a hero.
The great Peter Cushing produces a pleasant edgy, and anxious Doctor Lawrence.
While Gwen Watford sublimely insinuates an ominous and mysteriousness into Ayah.
John Hurt bestows the audience with his foxiest best in his role as Tom.
And, Alexandra Bastedo is ideal as the waify Angela.
Though I was unhappy with the horror elements in this movie, I give Kudos to the story, characters, and actors and actresses. The Ghoul is worth one watch. That said, don't rush out to track it down. If you're a newbie to horror, I'd suggest staying away from The Ghoul. Otherwise, you might never return to the genre. Track down some of the better and earlier Gothic horrors to entertain you. Then proceed on to this movie and watch it for the storyline, intrigue, and mystery. Because it's these elements that make The Ghoul enjoyable.
Jump in your roadsters and race on over to my Absolute Horror, Killer Thriller Chillers, and Dramatisation Of Life lists to see where this slipshod horror ranked.
Take Care & Stay Well.