| Photos (see all 3 | slideshow) |
| Dane Clark | ... | Casey Morrow | |
| Belinda Lee | ... | Phyllis Brunner | |
| Betty Ann Davies | ... | Mrs. Alicia Brunner | |
| Eleanor Summerfield | ... | Margaret 'Maggie' Doone | |
| Andrew Osborn | ... | Lance Gordon | |
| Harold Lang | ... | Travis aka Victor Vanno | |
| Jill Melford | ... | Miss Nardis | |
| Alvys Maben | ... | Lita Huntley (as Alvis Maben) | |
| Michael Golden | ... | Inspector Johnson | |
| Nora Gordon | ... | Casey's Mother (as Nora Gorden) | |
| Alfie Bass | ... | Ernie | |
| rest of cast listed alphabetically: | |||
| Ann Gow | ... | (uncredited) | |
| Cleo Laine | ... | Singer (uncredited) | |
| Delphi Lawrence | ... | Linda (uncredited) | |
Directed by | |||
| Terence Fisher | |||
Writing credits(in alphabetical order) | ||
| Richard H. Landau | writer (as Richard Landau) | |
| Helen Nielsen | novel | |
Produced by | |||
| Michael Carreras | .... | producer | |
Cinematography by | |||
| Walter J. Harvey | (as Jimmy Harvey) | ||
Film Editing by | |||
| Maurice Rootes | |||
Art Direction by | |||
| J. Elder Wills | |||
Makeup Department | |||
| Nina Broe | .... | hair stylist | |
| Philip Leakey | .... | makeup artist | |
Production Management | |||
| Mickey Delamar | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Jimmy Sangster | .... | assistant director | |
Sound Department | |||
| George Burgess | .... | sound recordist | |
| Bill Salter | .... | sound recordist | |
Camera and Electrical Department | |||
| Len Harris | .... | camera operator | |
Costume and Wardrobe Department | |||
| Molly Arbuthnot | .... | wardrobe | |
| Ben Pearson | .... | gowns: Belinda Lee | |
Music Department | |||
| Ivor Slaney | .... | musical director | |
Other crew | |||
| Renée Glynne | .... | continuity | |
| Andrew Osborn | .... | dialogue director | |
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| Marie Galante | The Shining | Our Man in Havana | Fortune Is a Woman | Stage Fright |
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| Full cast and crew | Company credits | External reviews |
| IMDb Crime section | IMDb UK section | Add this title to MyMovies |
It's too long and confusing and all the tension ebbs away while you try to follow the convoluted plot. The fun part is revisiting London of the time, especially the genuine interiors - from Chelsea Studio to furnished (in 1900 taste) flat to shagpile'n'modern sculpture penthouse. The beautiful girl acts as well as the artist's wooden lay figure. Why couldn't Dane end up with painter Eleanor Summerfield? I suppose we're meant to think "Oh ho, the cops are following him because they think he'll lead him to the real killers!", but this is very clunkily done. And yes, the scene in the Polish pub (Polish pub???) is utterly unnecessary.