John Gilling Movies

A murderous mummy is on the loose and it's got the Hammer Films stamp on it, but this tame terror flick never gets the bandages off when it comes to thrills, chills, and gore. A British archeological team consisting of Sir Basil Walden (Andre Morrell), Paul Preston (David Buck), a photographer (Tim Barrett), and psychic linguist Claire (Maggie Kimberley) discover the tomb of Kah-to-Bey, a young heir to Pharaoh who died trying to escape a rebellion. The boy was buried by a loyal slave named Prem, whose mummy stands in a Cairo museum. The expedition is joined by Preston's wealthy, press-hungry father Stanley (John Phillips), who insists they return to Cairo with the body despite warnings of a curse by the tomb's guardian. The curse soon proves to be true as the slave's mummy is reanimated by the guardian and begins murdering each of the explorers who entered the tomb. While Stanley Preston unsuccessfully tries to save his own skin, Paul and Claire find themselves in a showdown with the seemingly indestructible mummy -- until they discover that the strange writing on the boy Pharaoh's shroud may be the secret to their survival. ~ Patrick Legare, Rovi

This chilling monster film metaphorically examines the horrors brought home by British colonialism. Harry and Valerie (Ray Barrett, Jennifer Daniel) inherit the Cornwall home of Harry's brother, who died under mysterious circumstances. The local villagers are tight-lipped and afraid, and the couple's neighbor, the hostile Dr. Franklin (Noel Willman), hides in a large mansion with his frightened daughter Anna (Jacqueline Pearce) and a strange foreign man (Marne Maitland). The truth is that Franklin had been investigating a secret tribe of snake-people on his last trip to Borneo, and they had reacted to his intrusion by making Anna one of them. As a result, the girl turns into a hideous cobra-woman every winter, with bulging eyes, a scaly face, and large, venomous fangs. Other than the unusual monster, The Reptile may as well be a direct remake of Hammer's The Mummy, a film which this one apes in many of its contrivances. Director John Gilling does manage some effective setpieces, such as the sulfur-spring below the mansion, which keeps Anna warm as she writhes beneath a blanket to shed her skin. Underrated character-actor Michael Ripper appears in one of his more substantial roles as Tom, the local pub-owner, who goes from avoidance to digging up graves and risking his life to save the couple. There are some inconsistencies in Anthony Hinds' script, but the film is handsomely mounted and delivers its share of shocks. ~ Robert Firsching, Rovi

In this crime melodrama, a Swiss woman finds herself unwittingly involved in a plot to steal from her employer, a London diamond merchant. Her boyfriend is behind the scheme. First he sends two accomplices disguised as German jewelers to see the boss. He is not fooled by their ruse and is killed while the woman is knocked unconscious. She awakens with amnesia and begins aimlessly wandering the London streets. Thinking that his girl has squealed to the police, her boy friend begins scouring the town to find her. Meanwhile, she is taken in by a boxer who returns to the ring to win the money needed to get her out of the country. Trouble ensues when her lover finally finds her after the match and begins beating on the exhausted fighter. To stop him, the woman shoots the villainous lover. ~ Sandra Brennan, Rovi

This British WWII adventure film concerns a woman trapped in a prisoner of war camp and hidden by her fellow POWs from their Japanese captors. Elaine (Barbara Shelley) is a secret agent whose plane is shot down over the island of Malaya in 1944 by the Japanese. With no other recourse except capture, she enters the POW camp on the island and is hidden by Crewe (Jack Hedley) and his fellow prisoners. The Japanese realize that Elaine must be somewhere on the island, however, and when their search fails to produce her, they suspect that their prisoners know more than they are willing say. So the men are tortured one by one, and eventually a few crack and tell the truth. Elaine is then caught and also tortured. When her inquisitors realize the importance of the information Elaine carries, plans are made to send her to Singapore for interrogation at the hands of experts. The Secret of Blood Island (1965) was one of few features produced by television director Quentin Lawrence. ~ Karl Williams, Rovi

A small German town falls prey to an unseen monster that turns its victims into lifeless statues in this mid-'60s outing from Hammer Studios. When the girlfriend of bohemian artist Bruno Heitz (Jeremy Longhurst) becomes the latest townsperson to turn up dead, her corpse transformed to stone, Bruno hangs himself, leaving the town to assume his guilt. But when his father, Prof. Heitz (Michael Goodliffe), comes to investigate, he too encounters the Gorgon and turns to stone. Just before dying, the professor dashes off instructions to his other son, Paul (Richard Pasco), about how to exonerate Bruno. Suspicion falls on Dr. Namaroff (Peter Cushing), proprietor of the local madhouse, although one of his patients (Joyce Hemson) seems just as likely a culprit. Then along comes Prof. Carl Maister (Christopher Lee), a folklore expert from the University of Leipzig, who claims that the murderer is actually a human possessed by the spirit of Magaera, one of Medusa's snake-haired sisters from Greek mythology. Together, Paul and Dr. Namaroff attempt to root out the incognito Gorgon while Paul courts lovely amnesiac Carla Hoffman (Barbara Shelley). Directed by Hammer veteran Terence Fisher, The Gorgon is one of several films to feature British horror mainstays Lee and Cushing side by side. In the States, the film appeared with The Curse of the Mummy's Tomb on a double bill promoted by the distribution of a unique giveaway item: black stamps. ~ Brian J. Dillard, Rovi

Squire Trevenyan (Peter Cushing), magistrate of an 18th century coastal village where a little smuggling has always gone on (and been tolerated), learns that a group of wreckers have moved into the district, destroying ships and slaughtering their survivors in order to steal the cargo. The local populace, consisting mostly of tradesmen, honest fishermen and some part-time smugglers, all want the wreckers stopped, and appeal to the squire; but Trevenyan also learns that his son Christopher (John Fraser) is involved with the daughter of a tradesman who receives stolen goods. He intends to act on wreckers and smugglers alike, and gets the support of the local nobility (Miles Malleson). But then Christopher Trevenyan is caught up in a killing -- in self-defense -- of one of the wreckers, and the squire is so certain of the corruption of the village, that he declines to use his son as a witness against the wreckers. Rather, he brings in soldiers and starts a campaign against the smugglers and fishermen, the wreckers' leader, Black John (Bernard Lee), standing with him and diverting attention from himself. The citizenry appeals to a local highwayman known as the Captain (William Franklyn), who proceeds to kidnap Christopher, with a vow to kill him if two convicted men are transported to a colony. The squire is now trapped -- Black John, who is eager for the sentences to be carried out so that the troops can be withdrawn and his wreckers return to work, threatens to denounce him if he delays deporting the men; and Trevenyan rationalizes his decision as being in keeping with the law, even though it will cost his son's life. The only way out for the innocent parties on all sides can come from Christopher's bravery and the Captain's sense of honor, and the slim chance that they find a common goal that will spare young Trevenyan's life. ~ Bruce Eder, Rovi

Gorgo is an attempt to make a Japanese-style "giant reptile" flick in an English setting. The story begins when underwater volcanic activity in the Irish Sea brings forth a 65-foot monster called Gorgo. Enterprising Joe (Bill Travers) and Sam (William Sylvester) capture the beast and transport it to London, where Gorgo is put on display as a seaside carnival attraction. This proves to be a major mistake when Gorgo's even larger mother lumbers to the surface in search of her cute li'l baby. In short order, London is trampled and trashed. ~ Hal Erickson, Rovi

Jayne Mansfield, Marilyn Monroe's blond competition in the late '50s and early '60s, stars in this crime melodrama as Billy, the leader of a gang of thieves. She charms Jim (Anthony Quayle), a widower with a young daughter, into joining the group effort on a particular robbery. After the heist, Jim personally stashes away their stolen loot while she leads the police off in another direction. But the unfortunate new recruit ends up in the clinker for five years while the others go free. Once out of jail, Jim is brought up short -- Billy has allied herself with another man and her gang has money to spare -- though not enough money, they decide. Against Billy's wishes, the gang takes drastic measures to get at Jim's hidden cache of loot from the robbery that sent him to jail. ~ Eleanor Mannikka, Rovi

Mania is the venerable Burke and Hare story, previously cinematized by producer Val Lewton as The Body Snatcher. Peter Cushing plays a respectable 19th-century Edinburgh doctor who needs fresh cadavers in order to continue his crucial research. Since the exhuming of bodies for medical purposes is illegal, Lee must rely upon grave-robbers George Rose and Donald Pleasance for his corpse supply. What Lee doesn't know is that Rose and Pleasance frequently cut out the middleman by "creating" their own corpses. The good doctor catches on when the latest cadaver turns out to be his own fiancee. Its excessively violent climax has prevented Mania from being shown completely intact on commercial television. ~ Hal Erickson, Rovi

The otherwise routine story and themes of this comedy are greatly balanced by talents of Anthony Newley as Jeep Jackson, a singing idol called up to serve in the British army and Lionel Jeffries as Bertie, a fussbudget adjutant. One of Jackson's superior officers is the brash Sgt. Lush (William Bendix) whose bark is much worse than his bite. Aside from the usual army types, Caroline (Anne Aubrey), the commander's daughter, adds a romantic nuance to the story when she falls for Jackson. And as in any story about a pop singer anywhere, Jackson manages to belt out a few songs. ~ Eleanor Mannikka, Rovi

In this espionage film, an American journalist goes to London. There he becomes friends with a young woman who is really a secret agent carrying an important list of enemy spies disguised as a diary. When she drops it, he picks it up and finds himself facing a gun barrel. They get involved in a scuffle and the woman ends up accidentally dead. Now the reporter has the secret list. He finds himself the target of spies desperate for the information. ~ Sandra Brennan, Rovi

In this drama, the commanding officer of a British Royal Air Force flight training school must deal with an ornery, irresponsible cadet. The lad reminds the officer of himself when he was young. It also reminds him that his own youthful arrogance and foolishness caused the death of the new recruit's father. The young man only settles down when the C.O. saves him during maneuvers. The boy is injured during the flight which gives him serious pause for thought. ~ Sandra Brennan, Rovi