Account Rendered

Ursula Howells, wife of merchant banker Griffith Jones, exchanges catty remarks with Honor Blackman at a party, goes to her lover, painter John van Eyssen, to see the painting of herself she is giving to her husband on his birthday, leaves abruptly to go to Hampstead Heath. When there, she screams at the camera and soon the police are investigating her murder. There are half a dozen fine candidates in this mystery.

This 58-minute B movie is directed at such a breakneck speed by Peter Graham Scott that there is no wasted time. There's also nothing in terms of grace notes, rendering the skilled players almost superfluous. True, Harry Ross, who turns up late, gets some humor out of his three-minute turn, but that's about the limit of it.

On the other hand, the movie does play fair enough with the rules of writing a mystery; I thought I had spotted the murderer early based on structure, but turned out to be wrong. As a result, if you enjoy a mystery without much in the way of frills, this is for you. Me, I want more.

When a wealthy woman with a closet full of skeletons is murdered, there are no shortage of suspects. From a jealous husband to secret lovers, Lucille Ainsworth's death leaves the police with several paths they'll need to go down to find the killer.

Overall, Account Rendered is a decent little British mystery, but doesn't have enough gong for it to call it much more than average. While several plot twists work quite well, there are instances where the film can get a bit dull. It's all filmed in a matter-of-fact style that, while efficient, doesn't allow for much story or character development. It may have been a product of the film's age or the transfer I watched, but it's not a very good looking movie either. Drab would be the word I'd use to describe it. The movie was released in 1957 , but it looks more like 1937. Finally, Account Rendered ends with a satisfactory conclusion, which is always nice in a mystery.

Just as I described the film, I'd also call the film's group of unknown actors (well, unknown to me) "efficient". The only real name in the cast is Honor Blackman. She does fine in a small role. The standout performance is Ewen Solon as Inspector Marshall. He easily brings the most life to the proceedings.

5/10.

This strangely short murder-mystery is a good reminder of why the English film industry was so strong during this period.

The cast of relative unknowns (with the exception of a young Honor Blackman) deliver a tight story in a precise way. The sub texts of the story are not laboured, creating an involving story.

It's worth the time.

Peter Graham Scott , Decades have passed since Subterfuge he made around 1966 (ish) and it only now clearly indicates that he was a very busy quick on the draw director,! Sub was a flop from which the unique Joan Collins was the only value in a weak and tiresome spy plot.

This made for tv rated a B ( for the uninitiated meant for those far off years when cinemas screened TWO films, the weaker story always took screening precedence with the stronger one to finally follow ) 'Account 'was a well written plot during which Mr. Scotts usual tight and taught mystery was unevenly directed and in 2 glaring scenes was abysmally over acted and possibly experimented with an aspiring assistant director to take the reins , which resulted in some pretty harsh flack ! Apart from that , the narrative does hold our interest as to who was the murderer ? As a previous viewer said, she or he thought they realized the answer and got it wrong, as did I also !

Over all interesting with a dash of mirth added for good measure ? Worth watching, as long as the viewer accepts the occasional wallowing over dramatization here and there ?

Lucille Ainsworth is married to Robert Ainsworth (Griffith Jones). She has commissioned her portrait to be painted by an artist, Clive (John van Eyssen) as a gift to her husband. Clive is also her lover.

When Lucille sees the portrait, she hates it. She goes to Hampstead Heath, where she is later found murdered.

Afraid he is going to be accused, her husband fakes an alibi with his business partner, Gilbert Morgan (Carl Bernard).

Meanwhile, Lucille's best friend (Honor Blackman) is in love with Robert. It falls to two police detectives to discover the murderer, which they do with careful police work. They trace a coat back to its original owner, and figure out how one person could be at the murder site, despite having an alibi -- too far away to reach the murder scene at the right time.