User reviews

I have noticed a lot of rubbish written about this movie: its NOT a Hammer production (it's from Tyburn) although a lot of Hammer-regulars are involved in it; director Freddie Francis is NOT the brother of producer Kevin Francis, but his father; the only similarities between Alfred Hitchock's Psycho and this movie are a female lead-actress (Veronica Carlson of Hammer's Dracula Has Risen from the Grave and Frankenstein Must be Destroyed-fame) who is killed halfway through the movie after we have become to root for her and who's disappearance is investigated by people who knew her, and an atmospheric house which contains a supposedly hideous secret. Peter Cushing gives a great performance, mixing real-life emotions with acting (his sadness about his departed wife of which he show photographs to Veronica Carlson and which are photographs of his real wife who had died in 1971, is really hard to watch if you are familiar with the background-information); John Hurt is also great although his character is nothing more then a red herring; Gwen Watford gives a nice performance of a Hindu-housekeeper which is not sinister in herself but treated as sinister because Hindoes were considered sinister in the time-period the movie is set in. The Ghoul himself will be undoubtedly a let-down for gore-seekers; although he is cannibalistic, he turns out to be more of a sad retard than a monster. The element which makes this film a cult-classic is the sadness which pervades every scene once we have made entrance to the house; not any other movie, to my knowledge, makes the same impact of sadness and doom which are presented here through characterizations, surroundings and even time-period. It's a gem, worthy to seek out, but be warned: only one viewing may not be enough to appreciate it ! You have to take your time for it and watch it several times (with intervals)... It may haunt you...

How odd this is. It fits in the very broadest of terms into the "creepy old house" genre of films as we're mostly treated to major Bad Vibes about the goings-on. There's no readily apparent explanation the odd behavior that the characters at the manor illustrate; definitive eventfulness is scattered, and left vague and unexplained for much of the length. All does come into clarity, but not until the last ten minutes. All this follows from exposition of a very different tone than I'd have ever expected. In a similar vein, it's not easy to find the words with which to describe 'The ghoul.' The production design and art direction are outstanding, certainly; though some specific moments are perhaps too overexcited, I admire the cinematography and editing. The cast give strong performances, I believe, demonstrating severe personality of one manner or another; John Hurt especially stands out given the playful yet menacing idiosyncrasies of his role. And what else? Just as the feature cloaks its horror in substantial mystery, I'm not completely sure how to even feel about it.

How much of this murkiness is written into Anthony Hinds' screenplay, and how much of it was manifested through Freddie Francis' direction, is up for debate. One way or another I admire the work put into the picture in and of itself, and moreover the discrete effort to wash over the narrative with such abject secrecy. The story we get is ultimately absorbing, compelling, and satisfying: both the whole tale as it presents, the wisps of plot that are mostly reserved for the last minutes, and the obfuscation thereof. Through it all the picture maintains an air of foggy unease that's peppered with acts of violence, and all this crystallizes in a climax that's pointedly dark. And still - that everything is reserved for those last minutes means the climax feels a little overfull. And for as well done as everything is here, it all just feels off, like all the component parts are kluged together in an arrangement that continually veers one way or another from its center of gravity. I do actually quite like 'The ghoul,' yet it's rather a strangely atypical viewing experience.

I think it's enjoyable, and worthwhile on its own merits. I also think this is apt to find less appeal with the average horror audience. As familiar as it is, with recognizable strains, in one fashion or another 'The ghoul' is also a tad peculiar. It's a good bit of fun - just maybe not for everyone.

We are in the world of Hammer Production now subtly calling themselves Tyburn , dealing with some drivers after a local auto race begin disappearing . Violin player ex-missionary : Peter Cushing arrives back from India with a mystical Hindu servant and a horrible secret. Bright young things crash their motor outside the front gate and are whisked away in by poor man : John Hurt. The unfortunate youngsters are lost on the marshes that long time ago were used by the army as a training area. But they wind up at a worst place, at the dark mansion where stalks terrible secrets.

This Horror film contains thrills, chills , brisk frames, blood and gore. A familiar script full of shocks, screams and surprises by John Elder and remarkable presence by the splendid Peter Cushing , as he enhanced everything he was in . Nice settings and production design, including moorland scenes completed with smoke bomb billowing away just out of camera . Cast is pretty good, the always great Peter Cushing as a defrocked clergyman, the picture improves immensely once he shows up, he was born to act in movies like this , the Hammer girl Veronica Carlson, Alexandra Bastedo , Ian McCulloch , Glenn Watford as a religious Hindú and sadly wasted John Hurt as the lunatic family gardener .

The picture displays a colorful but dark cinematograhy by John Wilcox with full of foggy ambient . As well as thrilling and suspenseful musical score by Harry Robertson and conducted by regular Philip Martell . The motion picture written by John Elder or Anthony Hinds was professionally directed by Freddie Francis who usually worked with Peter Cushing . He was a good director and a prestigious cameraman . Freddie made a lot of terror films , many of them starred by Peter Cushing , such as : The Creeping Flesh, Craze, Paranoiac, The Skull , Witness madness , Son of Dracula, Legend of the Werewolf , Trog , The Deadly Bees , Dracula Has risen from the Grave , Tortura garden , Hysteria , Docotor Terror , Nightmare , The Evil of Frankenstein, The Brain, Doctor and the Devils , Tales from the crypt , Crypt tales . Rating : 6/10 . Passable and acceptable . The flick will appeal to Peter Cushing fans .

This is the first film from Tyburn Productions (a supposed latter-day successor to Hammer and Amicus; they also had Peter Cushing starring in Legend of the Werewolf(1975) and Masks of Death(1984)).

This has to rank as one of Peter Cushing's most memorable performances - his role is portrayed with such dedicated nervousness and emotion, that the viewer immediately gets his sympathy.

The female photographs used in the movie are of his real wife Helen, who had passed away in 1971. The tears that Peter Cushing sheds in this film are for real and it did affect the rest of the cast quite deeply.

Aside from this, the plot stumbles along with yawning gaps of pointless dialogue and actionless scenes, until the Ghoul is revealed at the end. It's not really worth the wait!

Watch it only for a dedicated professional at work who steals all the scenes and makes a poor film seem passable.

I must be one of the few people on earth that likes this film, for in general terms it has been dismissed by critics and fans alike. I guess therefore, it is down to me to explain the appeal of 'The Ghoul'. Well, first and foremost it has Peter Cushing, who makes the film, and gives one of his best ever performances. Filmed when he had recently lost his wife, this must have been a difficult time for him, but he nevertheless rises to the occasion and gives a most sensitive performance. There is one touching scene where you see him look at an actual photo of Helen whilst talking to Veronica Carlson. Apart from Veronica Carlson, the film also benefits from some fine performances from John Hurt and Gwen Watford. It's a film supposedly set in Cornwall with swirling mists from the moors, adding to the atmosphere of the house itself. The opening of the film is quite unique and conjures up an atmosphere right from the start, even if there is a certain amount of deception involved. Peter Cushing was one of my favourite actors and it is unfortunate to say the least, that this film has not been issued on DVD, supposedly because Tyburn Films have gone out of production and nobody else has the rights to issue anything from that catalogue. This means that the excellent interview with Peter Cushing called 'One Way Ticket to Hollywood' (only on video) also remains unissued. The two things together would make an admirable issue onto DVD. It would be a shame if these films were lost forever. Peter Cushing doesn't deserve this, nor do his fans! As for now, I make no apology for heaping some overdue praise on a film which has been unfairly ignored and deserves to be re-evaluated.

At a party in the 1920s, two dizzy couples challenge each other to a car race to Land's End. But the race ends in fog near a lonely, dark mansion where Peter Cushing offers hospitality at a gruesome price!

A seriously underrated horror film that boasts some great atmosphere, swirling mists across the moor, the dread and an engaging story, but the pace can be slow at times. However, generally this is a good chiller that also features some gory moments, if only towards the end. Loved the 1920's setting. Peter Cushing acts superbly, like usual, and looks quite melancholic. His wife had died recently. In the scene the woman in the photo is his wife.

"The Ghoul" was produced by Tyburn Films - one of the British Horror Companies that spurted up in response to Hammer Studio's worldwide Gothic horror movie success. This one should be of immediate interest to anyone who likes those films as it stars Hammer veteran Peter Cushing, Hammer starlet Veronica Carlson and is written and directed by Hammer stalwarts Anthony Hinds and Freddie Francis.

Ghoul begins at a roaring 1920's party where four bored guests decide to go drag racing and wind up at a strange mansion in the forest where a former priest (Cushing) resides with his creepy Indian housekeeper (brilliantly portrayed by Gwen Watford), and sadistic groundskeeper (a very early role by John Hurt). Now, I'm sure some of you may be raising your eyebrow and thinking "that tired story again?" - but as anyone who likes these kinds of movies knows, its all about the execution and this one's got it nailed down perfectly.

There are some gory surprises, nice Gothic stylings, and excellent performances nestled inside of this very vague, very familiar story. Alexandra Bastedo, is particularly wonderful as one of the feisty teenagers, ethereally beautiful Carlson is always a joy to watch and Cushing gives one of his finest turns ever here. Anyone who likes Hammer movies or Gothic horror in general would be well-advised in seeking out this lost treasure that for some reason, in spite of its stellar cast and production crew, has escaped a genuine DVD release in any country.

In the 20's, the wealthy and spoiled Daphne (Veronica Carlson) and Billy (Stewart Bevan) challenge her brother Geoffrey (Ian McCulloch) and his girlfriend Angela (Alexandra Bastedo) to dispute a car race to Land's End. Angela feels sick and asks Geoffrey to stop the car, but Daphne goes on to win the race. However, she is forced to stop in a fog since the car runs out of gas. Billy takes a gallon to seek out gas and Angela stays in the car waiting for him. She decides to snoop around and is kidnapped by a stranger named Tom Rawlings (John Hurt). Then he takes her to a manor owned by Doctor Lawrence (Peter Cushing), a lonely man that lost his beloved wife and son in India and lives with his servant and former nanny Ayah (Gwen Watford). He invites Daphne to have a vegetarian dinner with Aya and him while Tom returns to the car where Billy is waiting for Daphne and pushes the car and Billy off a cliff. Meanwhile, there is a mysterious guest in the room in the upper level of the house. What is the secret of Dr. Lawrence and Aya?

"The Ghoul" is an entertaining horror movie that fans of Hammer studios will certainly enjoy a lot. It is great to see John Hurt very young, the unforgettable Peter Cushing and the creepy The Ghoul performed by Don Henderson. There are lots of screams and the dark conclusion is perfect for the plot. My vote is seven.

Title (Brazil) "O Carniçal" ("The Ghoul")

"The Ghoul" is a bad horror film that should have been much better. After all, it stars Peter Cushing and John Hurt plays his psycho son...but the writing and direction really aren't all that good.

A group of annoying people are on a car race. When one car runs out of gas, they are set upon by psychos who kill them and dismember them for food. There really isn't much more to it than this...and that is the big problem. There's little in the way of suspense and I found the film incredibly boring. Cushing seems to try his best but with no likable characters and the plot being thin to say the least, I really cannot recommend it.

Those of you who love a good mystery should love this movie. After a party for the rich, 2 couples at the party decide to race to lands end in Cornwall. Soon one of the cars breaks down, one is off the road and they are in trouble. One of the women goes into a mansion to ask for help and it's clear that she's unwelcome. Peter Cushing plays Dr Lawrence who hides a dark secret in the attic. Cushing is quite dull in his role but he comes back at the end. John Hurt is completely miscast as the grumpy and perverted gardener. He actually plays the role very well and it's fun to see him do something interesting. He also invented a great new slap. He raises his hand and brings it down to chop the persons face with his fingers. I tried it and it's very painful! It shall be referred to as 'The ghoul slap'. As for the movie, the rest of the cast is on good form and Ian McCulloch stars in a pre 'Zombi 2' role. Still, he tries to take on the ghoul at the end and fails miserably. The atmosphere is superb with marshes and fog although the movie does run at a slow pace. Killings are the usual with stabbing's and shootings although some scenes have great special fx for gore. Particularly Ian McCulloch's demise. It is well worth a watch although it is very dodgy and quite slow. 5.5 out of 10.

"The Ghoul" quickly turned out to be a rather big disappointment, and yet I can't even properly state what went wrong with it. I'm usually a big sucker for typically British 70's horror and Freddie Francis' film perfectly features all the necessary ingredients, like multiple fog-enshrouded Moorlands and dark secrets that are kept locked up in the attic of a gigantic countryside mansion, but somehow it just wasn't good enough. It's all there, including the presence of two highly respectable British actors, and still "The Ghoul" is an overall weak and forgettable film. The plot is repetitive and features a lot of clichés and stereotypes, several long parts of the film are dreadfully slow-moving and boring and – most of all – it's very low on shocks & bloodshed. "The Ghoul" is your usual tale of a handful of people ending up at the wrong place at the wrong time and eventually falling victim to the "thing" in the attic. At least how they end up in the perilous mansion is ingenious, as two rich and bored couples challenge each other to a car race through largely unknown areas of the British countryside. Trapped in the impenetrable Moors and low on petrol, the first couple arrives at the eerie secluded mansion owned by ex-missionary Dr. Lawrence (Peter Cushing) and his oddly behaving staff members Tom (John Hurt) and Ayah (Gwen Watford). Dr. Lawrence is very hospitable but it's quite clear that he still hides a dark secret from the time he spent in India. Moreover, it's a dark secret with a desire to kill and mutilate. The titular Ghoul is definitely an interesting horror monster, but the script fails to supply him with a decent background and doesn't even bother to explain anything about his maniacal tendencies. There's almost no tension in the entire film and none of the younger characters (the racers) deserve your empathy. The Moors and interior filming locations are very atmospheric the almighty Peter Cushing gives away a formidably tormented performance as always. John Hurt is excellent too, as the slightly insane gardener with a military background. After looking up this film at the IMDb, I regretfully noticed that director Freddie Francis passed away recently (March 2007) at the blessed age of 89 years old. Francis was one of the most prominent horror directors of the British "golden" area and he made more than a dozen classics that are all a lot better than "The Ghoul", like "The Creeping Flesh", "Tales from the Crypt", "Torture Garden", "The Evil of Frankenstein" and "Paranoiac". He also was an acclaimed and highly respected cinematographer who often worked for David Lynch. Rest in peace, Mr. Francis.

I sort of liked this one, but mainly because of the performances of Peter Cushing and John Hurt. Also, Ian McCullough is rather good in it too. However, if you have seen the movie "The Oblong Box" and "The Dunwich Horror" you will know where this one is going. No surprises are in store for you and there really are few murders so it is not exactly a gore fest. So the only thing this one really has going is the actors I have already mentioned and if you do not really care for them I would have to suggest you skip this one. The ending to this one is also very much like the ending to "The Oblong Box" where you wait to see the face of the killer and in the end it is really not all that big a deal. Still though, the movie manages to not to be to boring, well to me anyway and if you are a big Peter Cushing fan you may want to check it out.

I enjoyed "The Ghoul" in the main,but felt that it pandered to some annoying stereotypes.Firstly,and most obviously I think,is that of India,or of the East in general being a home of sinister pagan beliefs and of rituals that engender evil.Now,I am aware that the film is set during the British Raj,and it would be perfectly fine if the characters in the film were to hold ignorant and arrogant views about Hinduism as being basically a kind of devil-worship,views which the character played by Peter Cushing(a former clergyman who stayed for a considerable time in India,where he encountered local religion in which he says he found only depravity) does indeed hold;but,the film was set in that age,not made during it,and these frankly racist attitudes are reinforced,as in the film it is made pretty evident that the source of the main unhappiness that has beset the household is India and Indian ways.Indeed,even the eponymous character,whenever he appears,is donning Indian clothes,when he is actually English. Another stereotype which is perpetuated is a class one.The character played by John Hurt is a scruffy ex-soldier(although it is suggested at one particular point that he had been a deserter) who murders people,abducts women,beats them and attempts to rape them.By his strong West Country accent,the fact that he was a private,and other peoples' manner towards him,it is obvious that he is a pleb.The upper-class characters on the other hand,are better-looking,more self-confident,and( particularly the character played by Peter Cushing and the character of the ex-army officer),generally nobler. Again,I have no objection to the behaviour of the upper-class characters towards the working-class ones,as that is plausible,but I feel that the film itself is confirming the idea of upper-class British people as some sort of superior beings. John Hurt,in my opinion,steals the show here,as I feel that he imbues in his character a depth which none of the other characters even remotely has.In fact, it is him that actually rescues the film from being farce. There are perhaps some who regard this film as an intentional parody of period horror;the amount of stock items is huge:"the numerous variations of

don't go there"",the stereotypical rural bobby and his "you don't want to go

down there" warning,the dark family secret,the woman who reminds a character

of his dead wife,the big house in the middlle of nowhere,and many more.If this were a parody,then what I have stated above about stereotypes pandered to in the film would probably be nullified.However,I don't believe that in general this film was intended as satire. I am,nevertheless a sucker for this kind of thing,the more clichéed the better,and despite the irritating elements,I still found the film well-paced and very entertaining.Also,John Hurt was very good.

1974's "The Ghoul" was not a remake of Boris Karloff's 1933 British film, but an original screenplay by former Hammer producer Anthony Hinds under his regular pseudonym John Elder, directed by Freddie Francis as a favor to his producer son Kevin. With a plethora of sequels in both the Frankenstein and Dracula series, it's debatable as to how 'original' this Hinds script would turn out to be, aping the basic plotline of his own "The Reptile" with a few gender switches and a new structure that echoes Hitchcock's "Psycho." The 1920s setting takes advantage of Jazz Age sets left over at Pinewood Studios from the just released Robert Redford vehicle "The Great Gatsby," Veronica Carlson's plucky yet unlucky heroine leading a chase across the English countryside at dawn, only to wind up stranded in a desolate house belonging to Doctor Lawrence (Peter Cushing), a defrocked clergyman recently returned from India, whose family was torn asunder by the religious practices of a depraved Hindu sect, his beloved wife dead and only son a murderous ghoul who answers to the prayers of his faithful Ayah (Gwen Watford). "The Reptile" featured an equally distraught father in Noel Willman, and a monstrous offspring played by Jacqueline Pearce, also guarded by a member of an Eastern sect, a more sinister character embodied by Marne Maitland, while Gwen Watford comes off as more sympathetic, her prayers for guidance seen as blasphemous by the doctor. This may be a cursed household, but much of the running time is focused elsewhere; Cushing doesn't appear until the 23 minute mark, and after spending considerable time playing genial host he's kept mostly offscreen for the remainder of the film. "The Reptile" offered substance to the family tragedy, and the audience gets to know the stricken daughter, but poor Don Henderson, in his greenish hues and gruesome makeup as Lawrence's son, never leaves his locked room unless he's ready to kill in ritualistic fashion. Even Cushing's sturdy presence came at a cost, his real life bereavement shared by his onscreen counterpart, but it did allow his late wife to 'play' opposite her husband in photographs of the doctor during happier times. The real star is second billed John Hurt as the unpredictable gardener Tom, keeping a menagerie of animals caged in his tiny hut, a role he proudly accepted because he always wanted to do a proper Hammer-style horror film (little did he know what would emerge just five years later in outer space!). After the relative failure of Tyburn's debut feature "Persecution," producer Kevin Francis was still able to finance one last feature before going belly up, "Legend of the Werewolf" retaining the same personnel in front of and behind the camera, a last gasp for British Gothic as Pete Walker and Norman J. Warren carried the ball into the 1980s with stark, often fascinating results.

The 2nd British Studio to Hop on the "Hammer" Gothic-Horror Bandwagon, after "Amicus" Studio had Moderate Success,

"Tyburn", Founded by the Son of Freddie Francis whose Cinematography and Directing Talents Helped "Hammer" Achieve the Enormous Success that Sat On Top of "British Horror" for 15 Years.

It was just Too-Little-Too-Late for "Tyburn" that Only Managed 3 Films.

This is the Best of the 3, with Peter Cushing Absolutely Flawless Again and Young Blood John Hurt Adding Immensely to the Creep-Factor, and there's Plenty of "Creep".

Hurt is a Lecherous Gardner for Cushing, a Defrocked Priest that Brought Disturbing Things Back from His Stint in India.

Namely, a Mutant Murderous Son, and More. The Details Concerning the Story are Scant, With-Held, or Simply Absent.

It's the Biggest Flaw in this Otherwise Atmospheric, Gory, Unsettling Film.

After a Frivolous Beginning Concerning Young Adults Partying Hardy in the 1920's, the 2nd Act Unveils Uncomfortable and Horrifying Nastiness in Cushing's "Old-Dark-House" with Slashings and Sacrifices.

A Capable Cast Including Veronica Carlson and Ian McCullough with Don Henderson as "The Ghoul".

It's a Bit of a Mess Held Together by Cushing, Hurt, and some Striking Sets and Locales.

But the Story is Ambiguous Holding it Back from Full Involvement.

Overall, it Feels Like Left-Overs, Not Very Fresh, but Left-Overs can be Satisfying and for Horror Fans...

Worth a Watch

For Others...Probably Not.

England during the 1920s.At a party, two bored men challenge each other to a car race to Land's End.But one of the cars breaks down.Daphne Wells-Hunter walks to the nearby country estate to find help and meets Dr Lawrence,a former missionary to India,who lives in seclusion there. But then she is killed by the bald,cadaverous man that Lawrence keeps locked in an upstairs room and her companion is pushed over the cliff in the car.Their friends come looking for them and refuse to believe Lawrence's explanation that it was an accident.Interesting British production from Tyburn Films,founded by Kevin Francis.Not much is ever explained about cannibalistic ghoul hidden on the attic.The atmosphere of strangeness amid the mist-flowing moors is certainly well evoked and Peter Cushing gives a memorable performance as always.I have seen this film for the first time as a kid and it really creeped me out.8 out of 10.

In the 1920s, a couple traveling to Land's End, England, runs out of petrol in the fog wherein the female (Veronica Carlson) encounters a peculiar gardener (John Hurt) and the estate of a former-minister (Peter Cushing), who lives there with his East Indian servant and... something else. Another couple shows up looking for their friends (Ian McCulloch & Alexandra Bastedo). Havoc ensues.

"The Ghoul" (1975) meshes "Psycho" (1960) with "The Shuttered Room" (1967) and Hammer's "Demons of the Mind" (1972). It was made by a short-lived company that was inspired by Hammer films and utilized many of the same people & locations of that company. It thus has a Hammer vibe and is on par with much of their horror output from the 60s-70s.

Some have called it the British version of "The Texas Chainsaw Massacre" (1974), but it's more toned-down and concentrates on troubled souls and eerie mood corresponding to the foggy marshes of Cornwall, England, and the unspeakable mysteries of India.

The movie runs about 1 hour, 28 minutes (with a shorter version that has several minutes cut), and was shot at Pinewood Studios, Iver Heath, Buckinghamshire, England, just west of London.

GRADE: B