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In the best tradition of black and white, this film starts with a bang. After a pair of shapely legs get out of a classic 56 T-Bird in England somewhere, a gun shot is fired, without ever seeing who did it. The idea of making an anti- capital punishment movie in the mid-fifties right after the McCarthy era was ahead of it's time. Never preachy or blatantly left winged, this great unknown sleeper carries on the classic female incarcerated films of THE SNAKE PIT to the era of fins. Even the female prison guards show compassion, and the movie never uses bitch-slapping gimmicks for thrill effects. A quiet study that still touches the heart. Diana Dors shines in a smart role choice that added to her credits away from her necessary frothy pointed bra-B flicks. No wonder people loved her right up to her death.

The name Diana Dors conjours up a sex symbol, Britain's answer to Marilyn Monroe. She was so much more than that, but because of her image, her best performances were ignored by critics.

Based on the Ruth Ellis case, Dors plays Mary Hilton. In the first scene, we see her, during the daytime with people around, deliberately empty a gun into the body of of a woman. We next see her in a death row prison - deglamorized, guarded by matrons, in a room with a door without a handle, leading to where she will be executed.

According to what I've read, there had been a series of controversial hangings by the time this film was made. This film has the character hoping for a reprieve from the governor.

Mary looks back on the events leading up to the murder. Married, she falls in love with someone else, a pianist at a club, Jim (Michael Craig). She becomes obsessed with, to the point where she leaves her husband.

So entrenched in her love for Jim and devotion to him, she fails to see that Jim isn't as in love as she is. In fact, he becomes obsessed with a wealthy woman, Lucy. It's a destructive, up and down relationship, as is Mary's with Jim, but she lets him come crying to her when Louise rejects him.

Jim finally is driven to commit suicide and leaves a letter for Lucy. When Mary realizes the letter isn't for her, she snaps.

While in prison, Mary has a daily routine. The matrons take her for a walk daily, and it's obvious that they become fond of her, one giving her a cloth to cover her eyes while she sleeps, as the light is always on. She has to eat with a spoon, and when she bathes, a matron cuts her nails. She has a few visitors, none of whom she really wants to see - her ex-husband, her mother, and her brother.

Mary also meets with the chaplain, and finally, a lovely woman (Athene Seyler), sort of a volunteer prison visitor, who brings Mary flowers, gives her some comfort, and tries to get Mary to accept what she's done and what is about to happen.

The matrons give wonderful performances - Joan Miller, Marianne Stone, Olga Lindo, who plays the warden, and Yvonne Mitchell, all of whom have developed a relationship with Mary and dread the last day as much as she does.

Dors gives a subtly powerful performance, soft, sympathetic, quietly anxious in prison, and desperate in her scenes with Jim. We see her gorgeous and glamorous and in prison garb, her hair darkened with roots showing.

This isn't the first time Dors played a role where she is in prison. She also wound up there in "The Unholy Wife." She demonstrated then, as in this film, that she was a good dramatic actress. The film's alternate title is "The Blond Sinner," and the posters don't really suggest the story.

Well directed by J. Lee Thompson, Yield to the Night is an excellent film with a performance that deserved much more attention.

France made "nous sommes tous des assassins " (André Cayatte, 1951) The US made "I want to live" (Robert Wise ,1958) The UK made "yield to the night " (the ridiculous alternate title "blonde sinner" should be forgotten )

The three movies were candid indictment against death penalty ; Diana Dors, cast against type, compares favourably with Susan Hayward in the American movie. The luminous blond sex symbol in the flashbacks becomes a broken woman , with a premature aged face in jail: a stunning metamorphosis .

These flashbacks are kept to the minimum ,but well introduced into the story ; most of the time is given over to a convict who got the capital punishment in her cell in which she's never left alone (for fear she might take her own life?)and where they never turn off the light (hence the deeply moving title ). Lots of voice over make sense ; the waiting is the hardest time ,when the prison governor can any hour now bring you your pardon or your hanging ("I can recognize her steps ".In France, condemned men would never know which day they would be guillotined and in the small hours,they were listening closely by the door the steps , all this is shown in Cayatte's movie which was the first attempt in the world to rebel against the horrible death ceremony .

What's the point of healing your ankle , catching a cold or learning to play chess when your days are numbered? The wardens are compassionate ,but except for one of them who's just lost her mom , they are not able to relate to such a horrible fate .What's the point of eating ? of having a good night sleep? What's the point of anything?All is pathetic, the only real thing is that door , behind which....

It's not Jack Lee Thompson's usual style ,and I was skeptic about his treatment of an intimate subject ;but I 've got to make amends ;He brilliantly succeeds :the very last scene, notably ,is a model of simplicity and restrained emotion.

Based on a true story ;a must,as the two other movies I mention are.

Diana Dors in her first dramatic role, and last before her unsuccessful venture into Hollywood, sees her trade in her glamorous image for a more realistic and down to earth performance as a woman who finds herself on death row after committing a crime of passion. The film, based on a John Henry novel, has obvious similarities to the real life drama of Ruth Ellis, who murdered her ex-lover on a busy London street and become the last British woman to be hung a year before this film was made.

Dors had become one of the more famous starlets to emerge in Britain's post-war attempt at a Hollywood-like star system. Her familiarity with British audiences no doubt ensured sympathy for her character, which played partly on her bad-girl image. However, this was more than a mere star vehicle, and it saw her transform herself from a star to a serious actress. The American distributors seemed to miss the point somewhat, titling the film on its release there, 'Blonde Sinner'.

The film obviously draws upon the controversial issue of capital punishment. There is no doubt that, despite us witnessing her murder in cold blood, our sympathies are meant to lie with Dors' character. This is of course partly due to her star persona but also because of the way in which the film is directed. Rarely do we see the face of her victim who we learn nothing of apart from his cold attitude towards her ex-lover, Michael Craig, whom Dors has shown nothing but compassion for. Her callous attitude towards his tragic New Years eve suicide is exemplary of this, when she shrugs him off as someone who had just been a nuisance to her.

However, the film is commendable in that manages to avoid mere melodrama. We don't just get a one-sided view of events. We are left in no doubt that the Dors character is herself an adultress who committed a murder with malice and forethought. The issue the film achieves in getting across is the detrimental effect the capital punishment system has on those who are around it. Not only do we see the effect it has on Dors' family but also we get an insight of the wardesses who are with her for her final days. In particular we recognise the discipline shown by Yvonne Mitchell's character, Macfarlane, a young wardess who is drawn with compassion and sympathy towards Dors, and yet must contain her emotions especially during the last agonisingly pensive hours. There is also a feeling that we should not be overly sympathetic towards Dors, as she is rebuked by an elderly Christian lady that visits her for being too self-pitying and for showing little or no remorse. This theme is of course drawn on in more detail in Tim Robbins' recent death row drama 'Dead Man Walking'.

J. Lee Thompson's taut direction shows signs of his later atmospheric Stateside successes such as 'Cape Fear'. The expressionistic filming techniques used to add to the claustrophobic tension of the prison cell scenes are particularly effective. Yvonne Mitchell provides a strong supporting role as the young wardess who befriends Dors. However, it is Dors herself who should be applauded most of all for her emotional and naturalistic performance as the woman awaiting her fate. Some of the film's themes may seem rather cliched to a modern audience but I would imagine it hit a nerve when the issue was at the forethought of the British consciousness.

The film starts with Diana Dors shooting a young woman to death. The remainder of the film looks back on why she did this, but spends most of the time looking at the minuteae of the last days of her life in prison before she is due to be hanged.

Very good performances all around, particularly from Dors. Whilst the background to the killing is well handled it is the waiting for her probable execution and how those around her deal with this that is the more absorbing part of the film. Quite realistic in its depiction of time awaiting death and often unsettling.

'Yield to the Night'is a child of its time, the mid fifties. Set against the grim background of the condemned cell in what is presumed to be Holloway prison (the only hanging prison for women at that time),it is a strong statement against capital punishment in general, and for a condemned woman, in particular. By 1956, popular opinion in Britain had turned against the death penalty, fuelled by a series of unpopular executions, Derek Bentley, the educationally subnormal youth hanged in 1953 for the shooting of a policeman on a Croydon factory rooftop when his seventeen year old accomplice, Chris Craig, had fired the fatal shot (Craig was too young to hang); the executions of two women in quick succession, Louisa Merrifield and Stylou Christofi, and the cause celebre of Ruth Ellis, who shot her lover, David Blakely, outside a North London public house.

Obviously Ellis was the inspiration for Dors' character, Mary Hilton (both blondes, both shoot their lovers while emotionally distraught). Director J. Lee Thompson had worked with Diana Dors in the 1954 film 'The Weak and the Wicked', which, like 'Yield to the Night', was based on a book by Joan Henry. Times had changed, even during those two intervening years, and Thompson yearned for a broader, more hard hitting statement than his earlier offering. The action scenes are much pacier, with quick scene changes and remarkable (for its day) camera angles - the shots of Dors around a fountain amount to a cinematic work of art, and the murder itself is a tour de force of close ups, almost unbearable suspense and facial expressions (note the face of the uncredited cab driver when he realises what Mary has done).

We skip the trial to the first prison scene where the governor, played to perfection by that most authoritative of actresses, Marie Ney, informs Mary that her appeal had been denied. Geoffrey Keen, as a thoughtful chaplain, leaves the cell when Mary's lawyer appears, played by the veteran Charles Lloyd Pack, with an optimism that borders on insouciance. Mary settles into the daily routine, comforted by Liam Redmond, as the caring doctor. Flashbacks trace Mary's failed romance with Jim, a once ambitious pianist whose inner emotions are in turmoil, who is reduced to playing in nightclubs and acting as a third rate host, dancing with various women, including Mary's nemesis, the well heeled Lucy. Mary is besotted with him, but he is fatally attracted to Lucy, fuelling Mary's inveterate hatred for her. Jim commits suicide, leaving a note that is addressed to Lucy, pushing Mary over the edge. The flashbacks are not as convincing as the rest of the film, but perhaps that is due to their nature - we already know that Mary has shot Lucy, so the lead up to that cataclysmic situation is somehow diluted.

However, the prison scenes more than make up for that. The set is so incredibly realistic, down to the 'door with no handle', the door through which Mary will step, on execution morning. As the clock ticks down to that fateful day, some of the finest character actresses of the day shine through the gloom - Joan Miller, whose calm exterior finally cracks when Mary's reprieve is denied, and who entwines the shell-shocked Mary's fingers around a welcome mug of tea; prolific character actress Marianne Stone, as the flustered stand in wardress; the fearsome Olga Lindo, magnificent as veteran Warder Hill, whose granite exterior finally succumbs to pity as she strokes Mary's hair, a wonderfully touching nuance of direction which would not have been possible in 'The Weak and the Wicked'. Athene Seyler, who was also in 'The Weak and the Wicked' appears as a philanthropic 'prison visitor' who gives Mary flowers from her garden. However, the performance of Yvonne Mitchell, as the caring, Christian wardress, who offers Mary a blindfold to help her sleep (much to the chagrin of Hill), is towering in its tenderness and vulnerability, even getting away with the line: 'Have you ever thought that we ALL die, some morning'? (My own mother died at 7:45 pm!) Amazingly, the line works because of the well drawn relationship between the two.

The ending is dramatic - Mary is kneeling in the chapel with the chaplain while the hangman and his assistant are watching from behind an open door - we only see their hands, the hands which will put her to death, another triumph of creative direction and camera work. On the morning of the fateful day Mary leaves her partly smoked cigarette in the ash tray and her silhouette is seen from the front, arriving through THAT door, with the chaplain behind her, a detail that was incorrect, because the assistant executioner would be behind her, having tied her hands behind her back - in 1956 the secrets of capital punishment were still closely guarded, and would not be made public until the autobiography of chief hangman Albert Pierrepoint (1977) and his one time assistant, Syd Dernley in the late eighties.

Dors showed that she really could act, and that the British film industry was capable of producing work of realism and depth, a much better film than Susan Hayward's much vaunted film about Ruth Ellis's American equivalent, Barbara Graham, 'I want to live'! And the message? A life for a life is futile, and life should be for living. Yield to this fifties gem of true excellence.

What a wonderful performance from Diana Dors playing a women condemned to die after killing her rival.

Dors along with the staff awaiting her sad and untimely demise suffer the painful agony waiting for her exit on the gallows of Holloway Prison.

The film is dated and somewhat staged but Fors is stunning and does make you wonder if she had any dramatic contemporaries either British or American.

Her performance and the film will stay long in the memory

"Everything seems suddenly sharp and larger than life. The pattern on the playing cards. The bitten end of Brandon's pencil. Hil's flat, sensible shoes with iron studs on the soles. Is this because I am near death?"

Diana Dors is wonderful and this is a great vehicle for her, with high production value and a style to its black and white cinematography. The story just wasn't for me though. At the beginning we see her character murder another woman, and then while on death row, a series of flashbacks help us understand why she did it. Despite the film giving us her perspective, she's hard to like - cheating on her husband, committing the crime of course, and being very cold to her visitors in prison.

The film then transitions to a treatise against capital punishment, "legal murder" as it describes it, at a time when Britain's death penalty was being debated. Making the main character harder to empathize with was one of the points of the film, that even in these cases, putting someone to death is morally wrong. Whether you agree with that or not in all cases, I think tackling such a weighty topic for a film in this period is commendable. However, as the victim of the crime wasn't allowed the benefit of a full (or even partial) characterization, it created an imbalance of sympathies, undercutting the integrity of the film for me. I also wasn't a big fan of the Catholic moralism at the end.

I have to say, the backstory leading to the murder isn't all that enjoyable to watch either, despite Dors' considerable charms. We find out that she's bored stiff by her husband, and begins having an affair with another man (Michael Craig), who soon gets bored of her in turn, and favors another girlfriend instead. Everyone is treating the person who adores them badly, even (apparently) the other man's other girlfriend. Those kinds of stories aren't appealing to me, and here it's times three. There is never a compelling twist that might make it interesting, because the film was concerned about positioning its social message.

Meanwhile, in the prison, the story lags until the end, though I liked the humanity and fairness shown by the guards. The moment of truth brings about philosophical ponderings and Diana Dors really throws herself into the part, but it's notable that there no remorse or guilt expressed about ending the victim's life. Was it more realistic this way, or was the film just avoiding the hardest question in these cases, I wondered. There's a lot to be admired here, but it felt incomplete as a debate on the topic, and rather somber as entertainment.

The plot explanation is very misleading, nowhere does it appear that she has been abused by men all her life, in fact, she enters into a relationship with the man she later becomes so obsessed with, while she herself is still married.

Then that man is unfaithful to her again and commits suicide because he is equally obsessed with the other woman who in turn does not like him.

The man she was married to still comes to visit her in prison, but here you see that she doesn't give a damn about him, it is difficult to sympathize with this woman, but you still get it through the extensive flashbacks in which her supposed rival indeed receives no sympathy treatment.

Dors plays her role very impressively, by the way how she was treated on death row says a lot about the difference in treatment compared to men in a similar situation.

This is more a comment on the IMDB description which repeats the suggestion it was based on the case of Ruth Ellis. However, the film was based on a novel by Joan Henry published in 1954, also called Yield to the Night.

Ruth Ellis shot the man that resulted in her execution in 1955 so the book could not have been based on the killing which was the year after the book was published.

Also at a recent screening of the film at the Watershed Cinema in Bristol it was mentioned that J Lee Thompson had said he already had the screenplay before the killing so the decision to film it was not based on Ellis.

I have seen this film a number of times and it well worth seeing.

Mary kills a woman in cold blood without much of a reason (not that any reason would justify cold-blooded murder) and when she's condemned to death, she regrets nothing but she's not happy to die.

Most of the movie takes place in the prison cell where Mary spends her last two weeks waiting for a reprieve and thinking about the past. Married Mary used to work in a beauty parlor and met Jim when he came in to buy perfume for another woman. Mary "fell madly in love", while Jim not so much.

Eventually, Mary leaves her husband for Jim and they have a bumpy relationship that ends abruptly when Jim chases Mary away, professing his love for Lucy, the other woman, who's treating him badly. Pretty banal and Jim's not a man to pine for, but Mary's not so smart.

During her time on death row, Mary's thoughts flutter without much logic or consistency as proved by the fact that she's not sorry about killing Lucy, and not even about being caught, but only about her impending demise, for which she is the sole responsible. Her daily routine does seem pretty absurd, as does the pretense to go on with a "normal" life and the understandable uneasiness of the guards rotating on 24 hours watch, but they've made better movies against death penalty.

"Yield to the Night" is a gripping British crime drama that showcases Diana Dors in one of her most compelling roles. Known for her glamorous image, Dors takes on the role of Mary Hilton, a woman on death row, offering a raw and deeply emotional performance. The film explores Mary's troubled past through flashbacks, revealing the love and betrayal that led her to commit murder.

Directed by J. Lee Thompson, the film is stark and atmospheric, with noir-like cinematography that enhances its somber tone. Dors' portrayal of Mary is vulnerable and haunting, shedding her usual bombshell persona to deliver a career-defining performance.

This film is a powerful examination of guilt, justice, and redemption, making it a must-watch for fans of classic cinema and anyone interested in seeing a different side of Diana Dors.

Mesmerizing from beginning to end. Black and white photography, impeccable, giving you the feeling of the scene just by placing the camera in a position that exactly will tell you before hand what's coming. Amazing.

And then there is the actress.

She, unlike ANY actress of that period, appears most of the time with her face washed up and her hair with 4 inches of black roots, totally unconcerned with her looks for the camera, but she is ACTING. She is acting a storm, what an excellent actress!!

In the flash backs the actress becomes DIANA DORS... Fully done with platinum hair, made up to kill and slipped into a dress too tight to believe, it could be painted on her naked body.

The story takes its time to develop and little by little it starts building up the tension of her character. The timing is perfect, we get more and more involved with her suffering and waiting as anxiously as herself about her destiny.

I don't have words to tell you what a superb movie this is, a film that I think will be impossible to produce nowadays, maybe Charlize Theron came close to this type of character in "Monster", but the feeling of the movie is totally different, the results of the 50s are the results of a civilization gone with the wind.

To me, this movie is a masterpiece.

This is a super vehicle for Diana Dors as the imprisoned "Mary". We know right from the start that she gunned down "Lucy" outside her mews cottage, and that her appeal has failed. Death row looms as she sits in her cell, accompanied at all times by two prison officers, awaiting a reprieve that may, or may not, come. Whilst she waits, we wait - and we learn a little about just what drove her to commit this cold-blooded crime. You see, she fell in love with the rather weak "Jim" (Michael Craig) and when she discovered that he was in love with someone else, she struggled to cope. Always hoping that he would choose her. When tragedy strikes, her course of revenge is set and... Most of the backstory is delivered to us as dreams; when she is awake and killing time in her room she begins to befriend "MacFarlane" (Yvonne Mitchell) - a outwardly hard-nosed woman but one in whom "Mary" begins to realise she can trust as she wrestles with her conscience, and visits from her estranged husband, her mother and her younger brother - all of whom she would rather not see. J. Lee Thompson starts this off simply and then allows Miss Dors to show us how to deliver a strong, characterful, performance. This is well paced, perhaps a little over-scored but a well delivered drama that proves compelling to watch and shows this star had plenty of serious actor strings to her bow. Well worth a watch, this film.

Obvious and transparent criticism of capital punishment that takes the easiest route of sentimental populism by concentrating on such a sentence placed upon a murderess rather than a murderer. No low hanging fruit missed, no easy point unmade, no failure to appeal to the emotional pull the "female in peril" trope.

As such this is a film of very limited effect once it's central hook has been discerned, 'Yield to the Night' does however remain interesting and diverting even as it becomes ineffective thematically. Largely due to an unusual direction, and the efforts of the mainly female cast, 'Yield to the Night' is an engaging film almost throughout it's flash back structured narrative. Occasionally it stutters and becomes mired down but overall it is a productive melodramatic piece on its own subject matter.

The production design is well done, the black and white cinematography is a boon, the director injects interest with a variety of off angle compositions in earlier scenes which gradually 'close in' in compositional framing as the deadline for execution for our lead comes closer.

The cast give good performances and the editing of scenes is fairly tight for a British film of this period whilst allowing the narrative to build in contrasts by big swinging flashbacks and small progressive vignetta scenes.

I rate at 6.5/10 because here we have an unusual film: it is crassly and flatly obvious as a thematic approach to criticising capital punishment, whilst being engagingly crafted as a cinematic piece. With a qualification that sometimes it does become a film that overstates it's scenes as much as it's theme, it is in general a well made film with a well rounded poise.

True "Blonde bombshells" of a starring nature come along only once or twice in a decade, and the number from, say, 1930 to 1960 is not all that many: Jean Harlow, Lana Turner, Marilyn Monroe, Diana Dors, Jayne Mansfield, Kim Novak, and that about does it. Of these, Harlow died too young and as an actress was memorable mainly in comedy, Turner turned into a very good actress as the years passed, Monroe was greatly loved but her true acting talent beyond her natural charisma was not really all that great, and Novak was passable. Mansfield was Mansfield. Diana Dors, however, despite her 'blonde bombshell' reputation and being probably the least beautiful of that group (one could hardly call her even very pretty) was a very legitimate actress, out of RADA, and gave excellent acting performances right from the start of her film career. Unfortunately, nobody seemed to notice at the time, which may have been her own fault for letting that reputation get out of hand.

This is the very best I have seen her, and her outing here as the doomed murderess is about as good a lead female performance as any to be seen in English films of the 1950s. It is truly amazing that both her performance and this film are not better known. Maybe the Hollywood-made I WANT TO LIVE of two years later ended up stealing this film's thunder, as they both cover the imprisonment and pending death of the protagonist. But only a portion of Susan Hayward's performance takes place inside prison walls, whereas in this film, outside the opening and some flashbacks, the entire story takes place in less than 20 days in a holding cell, perhaps 20 x 25 feet in size, and goes outside it only when the prisoner is allowed out for exercise in a high-walled yard. That there are always two warders taking shifts in the holding cell with Dors, tending to her every need but also imposing a strict regimen upon her, somehow adds to the total claustrophobia of the film, and it is irrepressibly morbid from beginning to end. But it is also terrific! Although the major burden falls on Dors, every performance in the film save one is exceptional, that one being Michael Craig's as her suicidal boyfriend. Craig is a good actor, but he was the wrong choice here, as he simply never really seems like the kind of guy who could be brought to suicide by unrequited love. Lawrence Harvey might have been perfect for it. But the great Yvonne Mitchell, as the youngest warder, is superb. It seems as though, from beginning to end, she has but one expression, which never changes, on her face, yet we see the feelings she is hiding underneath at every moment, and ultimately learn that those feelings are not confined to only the prisoner's situation.

Some reviews have mentioned this film as an indictment of capital punishment, but I don't see it that way, and only once in the entire film is anything said in that direction: One of the warders says that we mustn't forget the person Dors murdered, and another one answers that "...another death will not bring her back". Unlike in the Hayward film, we know right from the beginning that Dors is guilty of this crime, and although to the very end she never repents the murder, we still feel sympathy for her (I felt a lot more for her than for the Hayward character), surely a reaction engendered by the excellent screenplay, Dors' superb performance, and J. Lee Thompson's inventive direction.

Given the budget and the acting talent on view here, I do not see how this film could have possibly been any better, and it should prove a major discovery to anyone now seeing it for the first time.

Whilst this is a good if depressing film I am of the opinion that the ending is a cop out.It does not show the actual hanging which of course is the most barbaric part.The film fails also in showing that Dors has sufficient motive and why Craig preferred the other woman so that part of the film fails.Also it does become increasingly depressive being in the condemned cell.

This film proved that Diane Dorrs was a superb serious actress. The obvious comparison to the tragic case of Ruth Ellis 12 months earlier only served to make a good film even better. The whole cast gave their heart and soul to it. A must for people who have not yet viewed it.

At the beginning of the film, you see Mary Hilton (Diana Dors) mercilessly unloading her gun into a woman. Why exactly she did this, you have no idea...nor who the victim was. The story soon switched to Death Row in a British prison and only a bit later are there flashbacks to let you have so idea of what you're missing in the story of this woman. I do know that nothing in the story made me feel sorry for her...and Mary's narration sometimes seemed to cast herself as a victim, of sorts. However, although the aim of the film appears to be to get the audience to care, as various prison folk talk about how bad the death penalty is or express a lot of empathy towards her. In fact, I would go so far as to say I wanted to see Mary hang for her actions and lack of regard for her murder....and so the film doesn't achieve its aim, at least for me. So, although the film excels at realism in some ways, it ultimately fails in getting the audience to care.

I came to this film with pretty superficial view of Diana Dors. I couldn't have been more wrong. She gives a career best performance. On so many levels it stands head and shoulders above mid 50s Brit cinema. Truly international standard. Great ensemble acting; strong direction; and some lovely cinematography. It was clearly a powerful piece in its time - dramatically as well as a piece of social agitprop. It's still worthy of your attention more than 60 years on. What a shame this part didn't lead to the acting opportunities Diana deserved.

Anyone who can say that they are pro-hanging after seeing this horrific film ( on a psychological level ) should examine their beliefs. I live thank God in a country that no longer believes in an eye for an eye, or to put it more bluntly murder twice over. Murder is murder, by whatever means you want to restore ' justice '. And this film shows the details of agony, and the slow process of waiting and knowing that this is your last day. Diana Dors throws off the sexual image that was created for her and here becomes a drained woman, empty of hope going through a dark door to be murdered. I disagree that ' I want to live ' is not equally powerful. Both films should be endured so that we examine our desire for revenge, and J. Lee Thompson should be applauded for the courage in forcing the audience into going step by step into this hell. It is a pity the Americans degrade it by calling it ' Blonde Sinner ' and thrusting her breasts out to get an audience inside the cinema. A sick, sick world and Diana Dors who was an intelligent woman must have known it.