Danger Tomorrow

This thriller is of a type that I am not fond of.When the murderer has been caught one of the other characters has to explain the plot and link everything up.There is very little tension generated through most of the film.Better just watch the trailer on the same disc.Zebra Walker and Robert Urqhuart do their best but cannot overcome a limp script that does not generate any fear.

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For the 1960s this was quite a change to the convention: To have a psychic in a dark thriller. For the most part, the psychic element is well handled. When Doctor Bob takes a position as a village GP he and his wife move into the old doctor's house. It's not too long before the wife, Ginny starts to feel a little uneasy around the place. Being in the residence also kickstarts her dormant psychic ability and Ginny starts to have strange visions and dreams. The thing I liked the most about the story was the way it kept to being a mystery, though, with a few dark and supernatural overtones. The clues are also there, along the way, so you can even try to solve whodunnit.

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The director, Terry Bishop, has a good eye for using camera techniques, such as blurring in and out and twisting uncontrollably to show Ginny entering her psychic phase. He also plays with shadows to create tension and suspense.

However, this doesn't stop it from being one of the strangest films I've ever watched. This comes down to one thing alone... the soundtrack. The opening sequence is one of the best noir-like scenes I've seen. A great play on a girl awaking from sleep and screaming in terror to nicely arranged jazz number. However, as we go on it gets progressively stranger. From jazz, we slip into some classical. Though my favourite section is the chauvinists' dream sequence. While Dr Bob is saving the villagers Ginny remains at home to do the housework... and what wonderful housework it must be because the track that accompanies it is a happy and jolly track similar to The Archers theme. The entire film is worth watching just to see this scene in its correct context - I nearly peed myself laughing. But it doesn't detract from the story or the film. It kinda adds a strange kind of entertainment. Then we have the auditory prompts. Something relevant to the mystery is said and we hear, wah, Wah WAAAHHH. A phone rings... wah, Wah, WAAAHHH, A gnat farts... wah, Wah WAAAHHH. Very strange indeed...

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Bishop gives the audience a nice trot as the base pace to the film. This keeps the story bouncing along and keeps the characters and situations interesting. Though when he wants to start sending chills down the viewer's spine he slows things down a tad, though never too much. This works very well to immerse the watcher into the story.

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The main thing I like about movies from this period is that everybody gives their best, and this isn't the exception. There are no small parts in this film. Nobody stands out as being better or worse than any of the others. This is a great thing as it helps to cement believability. Though I do believe it could have been a stronger film if the bad guy had a little more oomph. The same goes for Ginny too. Though this could be down to the writing of the characters or the director's view of them.

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I have to say, I would recommend this flick to everybody who likes this style of film (in which I mean, a tad strange in construction) from this period. Because of the disjointed soundtrack, I know it won't be for everyone but you should give it a try for that reason alone.

I will be watching this film again in the not-to-distant future.

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Come on over and check out my The Game Is Afoot mystery and thriller list-come-chart to see where I've ranked this movie or to get inspiration for your next viewing pleasure.

Ok I didn't expect much from this film but it was surprisingly good. Had suspense and a good atmosphere, made better for being black & white. Good character actors helped it along.

Doctor Robert Urquhart arrives to second Dr. Rupert Davies, preparatory to taking over the practice. His wife, Zena Walker, is trying to get the old, rambling house that comes with the practice in some sort of order. She is, however, upset by visions of a murder. She had had these visions when an adolescent, and they had been proven true; now she is concerned that her husband is a little too interested in his shapely lab assistant, Lisa Daniely.

It's well directed and well performed for a cheap British second feature that would have its American debut on a syndicated show; however, my taste for mysteries that are grounded in reality, as well as the vague premonitions set my teeth on edge. The underwrittne characters didn't help.

This film was so obscure during the early seventies that David Pirie omitted it from his filmography in 'A Heritage of Horror' (1973) and Walt Lee listed it as one of the 'problems' in the section on blue paper at the back of Volume 1 of his 'Reference Guide to Fantastic Films' (although the same year Denis Gifford identified it generically as a Fantasy in 'The British Film Catalogue').

Scripted by actor Guy Deghy and explicitly organised around the date 5 October (!) 1960, a good cast - including a foxy lady named Annabel Maule (now 97 years old, apparently!) as Zena Walker's tippling sister-in-law - are aided by excellent photography (including some nice night-for-night exteriors) but hindered by a lousy score. (It's a sign of the times that it's considered a problem that the house where most of the action plays out is "a bit large...!")