Suicídio ou Assassinato?

Can Anyone tell me what happened to Betta St.John? She was so,so underestimated. What a fine actress and pretty, to boot.

Wasn't Mandy Miller awesome? She was just 15 when she made this movie- The scenary of the Italian Riviera is also gorgeous.

And, Swiss-born (of Lebanese ancestry) Arslan is Great as an Italian Inspector of Police--

This movie is often played in the middle of the night on Channel 39 Ft. Lauderdale/Miami--

Hope everyone who loves good movies sees this one.

Van Eyck! I think he must have wrote this one--For himself!!!

Although the police have termed her mother's death by gas a suicide, a teenage girl (Mandy Miller) believes her step-father (Peter VanEyck) murdered her.

Hammer may be best known for their horror films, but they made some pretty fine thrillers and murder mysteries, too, as this film attests. Helmed by Guy Green (who made his name under David Lean) and written by Hammer's Jimmy Sangster, this is just pure genius beginning to end.

From the opening scene, we know how the killer does his work... but then we watch and see if his teenage stepdaughter can find out. Blaming someone for murder is one thing, but finding solid proof is something else entirely.

Poor Candy Brown (Mandy Miller). She cannot get anybody to believe her. She's 100% certain that her cold blooded stepfather Paul Decker (Peter van Eyck) has murdered her mother, despite the evidence seeming to indicate that the woman committed suicide. Mandy, who also believes in her heart that Paul had similarly murdered her father once upon a time, sticks to her guns. But the adults around her keep stubbornly insisting that she *must* be making all of this up.

It's easy to be on Candy's side here. With so many thick headed adult characters, you truly feel her frustration and desperation. Will she ever obtain the proof she needs that Paul is a creep? People like her chaperone Jean Edwards (Betta St. John, "The City of the Dead"), Mr. Wilson (William Franklyn), or the hearty police inspector (Gregoire Aslan) refuse to take her seriously, even though she doesn't seem to be the sort of girl who'd be prone to flights of fancy.

The suspense lies not in a "did he or didn't he" scenario - we see Paul murder Candy's mother in the quiet, ingenious opening set piece. The title object plays a pivotal role. Rather, the tension arises in Candy's predicament, and whether or not she'll be vindicated before the evil Paul strikes again. And we know it's possible. The looks he keeps giving her show that he thinks that he'll have to kill her just to shut her up.

Efficient direction by Oscar winning cinematographer Guy Green ("Great Expectations", 1946) and sharp black & white photography make this a fine entertainment, as well as strong performances from all concerned. Miller makes Candy a sympathetic character, and with his facial features van Eyck was obviously a natural for screen villainy.

This viewer would suggest that fans of Hammer horror give features like this a try, just to show that the famed British studio wasn't just a one trick pony.

Seven out of 10.

A plot common to quite a few suspense movies: apparently good guy gains affection of family, the better to obtain his greedy objectives. The alibi he creates for murder may have been clever in 1958 but today's technology would make it seem obvious.

However, the plot resolves itself to a showdown between the killer and a little girl. While the tale may echo Cape Fear, The Night of the Hunter etc, without their panache, the ultimate resolution is more like Wait Until Dark and the climax is carried off with as much tension and almost as much success. It must be nearly 30 years since I first saw both films - and I recall this climax as clearly as the better known Arkin-Hepburn performance.

This is another of the underrated and seldom seen suspense films that Hammer put out in the late 1950's, early 60's. It has sort of a Columbo flavor to it as we see the sinister Van Eyck very creatively murdering his wife in the opening scenes and spending the rest of the film attempting to convince a suspicious niece that he is innocent. It is a very atmospheric black and white film, a media which should be taken advantage of more even today as a tool to establish mood. Van Eyck is superb as the villain and the supporting cast is first rate. The Snorkel is not really a classic but is solid and holds up fairly well after almost half a century. Catch this one on cable or video when you can, you won't be disappointed.