Although it has been suggested that the premise of Michael Anderson's film is based upon Josephine Tey's 'Brat Farrar', subsequently filmed by Hammer as 'Paranoiac', it actually bears a far greater resemblance to an American radio play from 1948 entitled 'Stranger in the House'.
Be that as it may the plot of this particular opus, although ingenious, is inclined to stretch credibility to the utmost but remains eminently watchable thanks to Mr. Anderson's customary craftsmanship and undeniable skill with actors. The films fabulous 'look' is courtesy of Anderson's favoured cinematographer Ernest Hillier who learnt his trade under Murnau and Lang which is especially evident in the interior and night-time scenes. Although slowly paced the director and editor Gordon Pilkington maintain the tension and during the car ride at high speed along a mountain road, the splicing of back projection and live footage is brilliantly done.
This is Richard Todd's third film for this director and although Mr. Todd is traditionally at his best in uniform he acquits himself well here as a man who is not exactly what he appears to be! Good support from Alexander Knox and Faith Brook whilst the immaculate Herbert Lom is, as always, great value.
As an ardent devotee of Anne Baxter I would have to say that as well as looking good enough to eat her portrayal of gradually mounting hysteria is wondrous to behold. A consummate professional who never gave less than her best, whatever her material.
A few years earlier Michael Anderson had been described by one critic as the most promising British director since Carol Reed and David Lean. Although he may not perhaps have reached the heights of those two, he did, to an extent, fulfil his promise.
Be that as it may the plot of this particular opus, although ingenious, is inclined to stretch credibility to the utmost but remains eminently watchable thanks to Mr. Anderson's customary craftsmanship and undeniable skill with actors. The films fabulous 'look' is courtesy of Anderson's favoured cinematographer Ernest Hillier who learnt his trade under Murnau and Lang which is especially evident in the interior and night-time scenes. Although slowly paced the director and editor Gordon Pilkington maintain the tension and during the car ride at high speed along a mountain road, the splicing of back projection and live footage is brilliantly done.
This is Richard Todd's third film for this director and although Mr. Todd is traditionally at his best in uniform he acquits himself well here as a man who is not exactly what he appears to be! Good support from Alexander Knox and Faith Brook whilst the immaculate Herbert Lom is, as always, great value.
As an ardent devotee of Anne Baxter I would have to say that as well as looking good enough to eat her portrayal of gradually mounting hysteria is wondrous to behold. A consummate professional who never gave less than her best, whatever her material.
A few years earlier Michael Anderson had been described by one critic as the most promising British director since Carol Reed and David Lean. Although he may not perhaps have reached the heights of those two, he did, to an extent, fulfil his promise.