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.
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.