I like the storyline of this show,it attract me so much

Not even bad in a good way

I really don't get the hype.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Many 1970s horror films made in the UK are vastly underrated and THE GHOUL is definitely one of those films. In my opinion, it's better than most Hammer films. So why some people talk as though this were some cheap, awful dreck I simply don't know. For one thing, it has Peter Cushing and John Hurt at the top of their game. We get to see an exciting car race, Veronica Carlson is great to watch and listen to, the misty setting provides a great atmospheric backdrop, there's a very creepy vibe in the scenes where the ghoul appears or is about to appear and there's never a dull moment. What's not to like?This is one of those films where you know the plot but you're not sure quite how it'll unfold and what twists and turns may be presented along the way. The setting is the 1920s and a group of rich people are having a party. One of the party-goers gets her boyfriend to challenge another guy to a race to Land's End (the most Southerly point of England). Along the way, they become lost and one of them finds herself in a house owned by a former Clergyman who harbours a secret.Peter Cushing delivers one of his most moving performances in this film (second only to TALES FROM THE CRYPT). The scenes where he's telling the guest of his house about his past must have been at times difficult and uncomfortable to perform. But Cushing performs them to perfection as we know he always would. These moments are key in leading us to decide whether he did wrong and make us wonder what we might have done if we were in his shoes.John Hurt is simply fantastic as Cushing's gardener, Tom Rawlings. He is at times creepy and at others comical but always fun to watch in action.Veronica Carlson is at her best in this film - the one film in which she gets to play a major role. She has screen presence and looks very glamorous as Daphne.Alexandra Bastedo is a bit wasted in the lesser role of Angela, more of a damsel-in-distress character than the one given to Carlson. But she plays it well.Gwen Watford is suitably sinister as the Indian Ayah who serves as Cushing's housekeeper.Ian McCulloch is more famous for his roles in Italian films such as ZOMBIE. But he's great to watch in this film too.The directing by Freddie Francis is excellent. Francis is good at creating atmosphere and ensuring key scenes have a creepy vibe to them. He selects his camera angles carefully so that while you see what he wants you to see, he also uses the power of suggestion very well. He's also good at delivering shocks and surprises. I can never forget the moment for example in DR. TERROR'S HOUSE OF HORRORS when Roy Castle turns on the light and finds the Voodoo god seemingly standing right next to him, more or less. The guy isn't stood as close as he appears to be and he also looks very tall and imposing too in that first shot.Overall, THE GHOUL is an immensely enjoyable film. It's darker in tone and more gruesome than a Hammer or Amicus effort but it's a great British horror film from the golden age that all fans of such films should enjoy.

This film by Tyburn is a clear imitation of the style Hammer had become known for. Peter Cushing, Veronica Carlson, make-up man Roy Ashton, Director Freddie Francis and screenwriter John Elder – all names associated with Hammer are here. In 1975, however, Hammer horror had virtually shut up shop.Since the early 1970's, Peter Cushing had been putting in some of my favourite performances; his turns in 'Twins of Evil', 'The Creeping Flesh', 'Tales from the Crypt', 'Asylum' and here are exemplary and heart-breaking. Here he plays another deeply flawed, tragic, fragile man who has led calamity overtake his life. He is in good company. Ian McCullough plays the kind of headstrong hero he would perfect in the BBC television show 'Survivors', and a young John Hurt is very good as the twisted gamekeeper Tom Rawlings. The Ghoul is played by Don Henderson, briefly glimpsed and often obscured, but making a very effective appearance.As part of a drunken dare, four upper-class twits embark on a road race. They get lost in the fog, and Daphne (Carlson) takes refuge in a creepy house owned by the maudlin, softly-spoken lapsed clergyman Doctor Laurence (Cushing). Their first scenes together are steeped with menace – we are introduced to Ayah (Indian for 'nurse', Daphne notes, and looking at some of the photographs which adorn the mantle, asks if Laurence's son is still as good looking now he is older. Sticky question.), played by Gwen Watford. Many mournful looks from Ayah, and nervous glances … upstairs, from Laurence.I feel 'The Ghoul' is somewhat unappreciated. It never seems to receive rave reviews, even in these days of re-appraisal, and yet I find it thoroughly enjoyable. It has a macabre and melancholy atmosphere and creeping sense of dread. There are some nice gory moments and some spirited performances with a satisfying grisly end, where most of the cast end up dead.

It suffers from a few pacing issues and the script owes more than a little debt to Hitchcock's Psycho, but despite the odd lull in action and lack of originality, I can't help but like The Ghoul, an atmospheric chiller set in the Roaring Twenties that stars Hammer/Amicus stalwart Peter Cushing, and Ian McCulloch, hero of Italian horror classics Zombie Flesh Eaters and Zombie Holocaust.The film kicks off in fine style with beautiful blonde Daphne (Veronica Carlson) being lured to a gloomy attic by eerie voices where she is confronted by a corpse with a meat hook through the neck hanging from the rafters; this turns out to be a macabre jape perpetrated by the woman's playful socialite friends, who proceed to party like its 1929, downing copious glasses of champers and kicking up their heels to the Charleston. With the alcohol rapidly running dry, Daphne and Billy (Stewart Bevan) challenge Angela (Alexandra Bastedo) and Geoffrey (Ian McCulloch) to a race to Land's End in their newfangled motorised carriages. But none of them make it to their intended destination, instead winding up at the fog-bound marshland estate of Doctor Lawrence (Cushing) who keeps his son, a crazed flesh-eating ghoul, locked in the attic.Daphne is the first to arrive at the doctor's creepy house, Billy having vanished into the fog only to be dispatched by wicked gardener Tom Rawlings (a pre-fame John Hurt). Dr Lawrence makes her welcome, but his housekeeper Ayah ensures she gets a nasty surprise while asleep: the ghoul (Don Henderson in a bed-sheet and bad make-up) pays her a visit with his dagger in hand. Like Marion Crane's death scene in Psycho, only executed with slightly less finesse, Daphne's demise is something of a shocker that pulls the rug from under the viewer (note that much is made of the mosquito net around Daphne's bed—it's this movie's 'shower curtain'!).Another scene heavily influenced by Hitchcock is the death of supposed hero Geoffrey, which mirrors that of Milton Arbogast in Psycho: Geoffrey storms up to the attic only to be attacked by the ghoul, falling to the bottom of the stairs with the monster's dagger embedded in his skull (a nice touch of splatter for the gore-hounds). It's another genuine surprise, expertly handled by director Freddie Francis, who wraps up his film with a suitably nihilistic finalé: a distraught Lawrence shoots his son as he advances towards a petrified Angela, before turning the gun on himself, leaving the young woman to flee the house screaming, presumably in desperate need of some psychiatric treatment.

Dr Lawrance (PETER CUSHING) is a defrocked priest who has a terrible secret hidden in his attic - his cannibalistic son whom he is good enough to supply with suitable victims.Tyburn was the production company fronted by director Freddie Francis' son Kevin Francis. THE GHOUL was the first of two films that Freddie directed for him, the other was LEGEND OF THE WEREWOLF. There is a nice feeling for period detail here and Peter Cushing is as reliable as ever. However, the film is actually a rip-off from PSYCHO and it's certainly far from the best genre movies that Francis directed. The golden age of the British horror film had long gone by the time that this last gasp was produced. Interestingly, the cast includes John Hurt whom Francis would work with when he photographed THE ELEPHANT MAN (1980) for David Lynch. After LEGEND OF THE WEREWOLF, Francis elected to quit horror films and returned to his roots as a successful cinematographer picking up his second Oscar in 1989 for his colour camera-work on GLORY which starred Denzel Washington. Francis is the only Englishman to have won Oscars for both black and white and colour.