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The Ghoul (1975) Tyburn’s house of horrors—where secrets fester in the attic.

01 Sunday Jun 2025

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Half a century on, The Ghoul (1975) stands as one of the more curious entries in the twilight years of British Gothic horror. Directed with solemn precision by Freddie Francis and headlined by the ever-graceful Peter Cushing, the film was a sincere attempt by Tyburn Film Productions Limited to resurrect the moody, atmospheric horrors of the Hammer era—an ambition that resulted in a mixed, but memorable, outing.

Set in 1920s England, the story revolves around a former clergyman (Cushing) who harbours a dark family secret: his cannibalistic son, locked away in the attic of his remote country manor. As uninvited guests and unwitting thrill-seekers stumble upon the estate, the horror quietly unfolds under a heavy blanket of mist, melancholy, and moral decay.

Tyburn—also behind The Legend of the Werewolf—clearly aimed to evoke the bygone days of elegant, character-driven horror. In that spirit, Cushing delivers a beautifully nuanced performance, as always lending depth and humanity to a role steeped in sadness. His scenes carry a weight of personal grief—particularly poignant given the recent loss of his wife at the time of filming.

Director Freddie Francis, returning to familiar Gothic territory, crafts an atmosphere of slow-burn dread, though the pace and plotting may leave some modern viewers wanting. Veronica Carlson—reunited with Cushing from previous Hammer entries—offers a restrained but dignified performance, while a young John Hurt brings a twitchy, unpredictable energy that adds texture to the film’s more traditional framework.

Producer Antony Hinds, a key figure in Hammer’s golden era, worked under the pseudonym John Elder here, contributing to a film that often feels like a swan song to a dying genre. While The Ghoul may not reach the heights of its forebears, its sincerity, craftsmanship, and dedication to classic horror tropes make it worth revisiting.

The Prognosis:

Fifty years later, The Ghoul stands not as a triumph, but as a loving echo—one that reminds us of a genre clinging to its traditions even as the horror world around it began to shift. For admirers of Cushing, Francis, and British Gothic, it remains a thoughtful if flawed gem from a studio that deserved a longer life.

  • Retrospective Review by Saul Muerte

Retrospective: The Curse Of Frankenstein (1957)

17 Saturday Sep 2022

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For me, The Curse of Frankenstein would mark the official change of the guard in horror films from Universal to Hammer. Not only did it revamp the now stagnant monster franchise, but propelled a new identity in the Gothic scene thanks to the vision of its director Terence Fisher; its two leads Peter Cushing in stoic form as the titular Baron Frankenstein and the heavily made up Sir Christopher Lee as the creature; but also the X factor charged with and championed by the films’ producers, setting a tone that would be replicated for another couple of decades to come. It also would have in its company writer Jimmy Sangster and composer James Bernard, who would both be part of Hammer’s signature. Above all else though, it would be Hammer’s first colour creature feature; one that would highlight all the blood, gore, and extravagant costumes with a vibrancy not seen on the big screen before.

Cushing and Lee would also prove to be a formidable duo before the camera for Hammer, for another 7 times with varying degrees of success. Lee would have to endure two to three hours in the makeup chair as Phil Leakey crafted the final, repulsive look from mortician’s wax, cotton wool, and rubber. The look deliberately steered away from Universal’ previous incarnation due to legal rights, allowing Hammer to present a unique spin on Mary Shelley’s classic tale. 

The narrative is told in flashbacks as Baron Frankenstein awaits a trip to the gallows,  but never wavers from his pursuit of achieving and creating life beyond the grave. What is starkly different from its predecessor is the cold and meticulous manner that Frankenstein’s actions are driven to in order to attain his goal. It is this characterisation and Cushing’s portrayal that offers a darkly disturbing version and one that is explored further throughout the various instalments that follow, most notably Frankenstein Must Be Destroyed which Cushing and fellow star Veronica Carlson believed crossed the boundaries of good taste.

The British press would initially turn up their noses to Hammer’s adaptation, with a general feel that it was purely for sadists. Both the British and American public would lap it up, which may or may not say something about our society. Regardless, it was enough of a reaction that was considered huge for its time that it would cement the foundations for Hammer Films and pave the way for their success to follow. It would also spawn a cult following and be an inspiration for many filmmakers to come. 

  • Saul Muerte