Straight on Till Morning

Although Hammer's output from the 60s and 70s was dominated by splendid Gothic horrors, their filmography from that period also contained a number of lesser known psychological thrillers—titles that were no doubt produced to cash in on the success of films such as Hitchcock's Psycho and French chiller Les Diaboliques.

One of the last such efforts to be produced by Hammer (before they turned their attention to making TV comedies into full-length features) was the intriguingly titled Straight on Till Morning, which somehow managed to combine murder with the more mundane elements of a 'kitchen sink' drama.

Rita Tushingham stars as Brenda, a desperate, dowdy young woman who leaves her home in Liverpool to try and find love and happiness in London. After finding herself a job in a trendy boutique, and a room to rent at a work colleague's groovy pad, Brenda begins her search for a man, but finds attracting the attention of the opposite sex much harder than she thought it would be.

When Joey (James Bolam)—the one man with whom Brenda might have had some luck with—winds up in bed with her blonde nympho flat-mate Caroline (the lovely Katya Wyeth), the distraught girl flees into the night where she chances upon a lost dog that belongs to Peter (Shane Briant), a wealthy young man who could be her Mr. Right. If only he didn't have homicidal tendencies, a bizarre hatred of beauty, and a very sharp Stanley knife...

With this interesting story, exploitative content, and talented cast, Straight on Till Morning could have been superb, but the film's iffy editing (which irritatingly intercuts rapidly between scenes), combined with director Peter Collinson's frustrating decision to suggest his nasty violence rather than show us the goods, ultimately means that the film doesn't fulfill its potential.

Still, even though the film isn't classic Hammer by any stretch of the imagination, it's worth checking out for the hilariously horrible 70s fashion and fun scenes of swinging London, Briant's incredible mop of blonde hair that steals every scene it's in, the hysterical moment when Tushingham goes into town to glam herself up only to return looking like a bad drag queen, and a couple of genuinely disturbing moments that include a surprisingly bleak finalé.

5.5 out of 10, rounded up to 6 for IMDb.

Straight on Till Morning is certainly one of the most atypical films that Hammer Studios ever produced. It begins like a social realist kitchen-sink drama, replete with fragmented snapshot montage editing similar to Ken Loach's Up the Junction – incidentally, a film remade by Peter Collinson the director of this film. And for the first third of the film it seems like this is going to be another such gritty drama, however, it takes an unexpected detour when it suddenly turns into a psychological thriller. It's an extremely unusual combination that isn't entirely successful but definitely interesting. In actual fact it's one of Hammer's more intriguing efforts in my opinion because it's so weird.

The story is about a naive young girl called Brenda who moves to London to try and find a man. She winds up staying with a very strange foppish man called Peter who is in fact a serial killer of women.

The social realism and montage heavy editing is entirely at odds to anything else Hammer ever put out. This is a film that has way more in common with the British New Wave than it does with anything previously produced by the famous studio. None of the characters are particularly likable, with the men in particular very creepy and/or deeply unpleasant people with appalling haircuts. The central relationship between Brenda and Peter is, to put it mildly, bizarre. It's difficult to see what either of them sees in each other; while Peter's strange issues with beauty are a little hard to fathom. Nevertheless, I thought this one was not bad at all. It wasn't predictable in the way that most Hammer films tend to be. It was pretty bleak and overall a commendably uncommercial offering. Definitely worth a look if you like downbeat psychological dramas.

Just a couple of days ago, I narrated the Peter Pan fairytale to my five-year-old son before bedtime. Luckily I read him the sane and harmless Disney version, because this mentally depraved cult variation probably would have messed up his innocent little mind beyond repair… Just like his daddy's, yikes! We all know and worship the Hammer Studios for the outrageously vicious Grand Guignol horror movies they unleashed, but many people remain unaware that Hammer also produced several mysterious and experimental psycho-thrillers that don't feature their big stars, Victorian castle settings or entire buckets full of gore & bloodshed. The vast majority of these titles sadly ended up in obscurity, and that's a damn shame because most often these are extremely suspenseful, original and unorthodox thriller and/or film-noir beauties. "Straight on till Morning" is a terrific example of an atypical Hammer movie that nevertheless turned out to be a fascinating surprise and truly one of the most morbidly disturbing thrillers that I've seen in a very long time. It has to be said that the brief plot description here on the website is rather misleading. It says: "A timid, withdrawn woman meets a man she believes is finally the love of her life, unaware that he is a vicious serial killer". It makes you believe that this is a typical damsel-in-distress story, but the timid and withdrawn woman in question is actually quite troubled herself. Brenda Thompson lives with her meddlesome mother in Liverpool, but she dreams about meeting a handsome husband like the ones she describes in her self-written children's fairy tales. Brenda tells her mother that she's pregnant and heads off to London to find a father for her inexistent baby. In the swinging capital she tries hard to meet guys, but she's too obtrusive and desperate and it certainly also doesn't help that her much sexier roommate Caroline dives into bed with all of Brenda's potential boyfriends. One night Brenda kidnaps the hunky Peter's dog Tinkel, only to be able to bring him back the next day and properly makes his acquaintance. Peter knows what she did, but still offers Brenda to move into his house and live with him. He does insist that she changes her name to Wendy, and through previous flashbacks we also learned that he's a bit of a murderous psychopath.

Admittedly the first half hour of "Straight on till Morning" is dull, confusing and very hard to struggle through. There's far too much experimental editing going on and the script extendedly introduces too many characters that aren't really relevant. However, if you manage to sit through this, you'll be rewarded with an otherwise uniquely twisted thriller, full of dark themes, misogynist undertones and so-called "kitchen sink" trademarks. There are several uncanny references towards the Peter Pan story (the names and the title, but little plot details as well) and the eventual explanation of why our hunky protagonist is killing is incredibly vile and disturbing. On a side note, it actually also reminded me of the excellent Nick Cave song "Where the Wild Roses Grow". The climax is literally breathtaking and hugely depressing. The film is undeniably a prototypic "life in London during the early 70's" product, illustrated through a cast full of bleak and unsympathetic characters and hideous clothes & hairstyles. Rita Tushingham gives a stellar performance, which I figure wasn't easy since she's supposed to be unattractive, naive and pitiable. Shane Briant is excellent as well, with a performance that is simultaneously menacing and miserable. And supportive babe Katya Wyeth, well… she's simply one of the most ravishing girls I've ever seen. Peter Collinson, who died way too young, did a great job as the director, although he should have cut some scenes towards the beginning.

I hadn't seen this movie for decades because it hasn't been shown on terrestrial TV for years, but I decided to buy the Region 1 DVD release (there's no official Region 2 UK release as yet) and I thoroughly enjoyed it.

Well it's difficult to dislike Rita Tushingham in any film, but it's directed in such a great style by the late/great Peter Collinson (director of The Italian Job (1969)fame), with a bleak beginning that could only be Britian of the 1960's/1970's and with a real snap shot of how things were in London back then.

This is a very different type of film from Hammer, when compared to their usual offerings and must have been truly shocking back then with it's level of cruelty, but it's a classic movie you simply have to own and the fact it's unavailable in the UK (the very place it was made & with an all British cast) is scandalous.

A conventionally offbeat early seventies psycho-thriller alive with zooms the way today's are with steadicam in which Rita Tushingham is a waif from the provinces who is abused by a smoothly misogynistic control freak upon her arrival in the big city the way she was seven years earlier in 'The Knack'.

It's quickly obvious were all this is going, but the vivid location work around Earl's Court and a good cast (most of them - like a feral Annie Ross in huge hair and a tiny dress - actually seen only fleetingly) keeps you watching; despite rather than because of it's gimmick in constantly referencing Peter Pan.