MarkDain

Having first seen this gem on weekend matinee Tv many years ago, it was a welcome opportunity for a large screen viewing recently. I had most remembered the way in which Joan Bennett's coats were deployed, reflecting both the tempo and mood of each scene and this reminder did not disappoint. The billowing vents, an upturned collar and a tightly-fitted variation all work superbly as Joan Bennett steps into and out of cars, runs down steps or faces the hard-nosed characters who pepper this quiet post war non-noir caper.

But this is not all. Interaction between the characters is extremely well done, particularly as each one has some relationship with Bennett and it is easy to believe that these would continue beyond the confines of the movie. The uncredited contribution of the family's black maid/housekeeper reflects some of the hidden agenda and the doubt and frustration that temporarily threatens the happy home. Wonderfully played by Frances Williams along with James Mason's strong, although worried character Joan Bennett's coat tails were never better supported.

Although there was probably some serious intent behind the film's premise e.g. the open prison system, social comment on post-war England as class barriers are breaking down which are interspersed throughout, it is the gentle humour that lifts it above the mediocre. Superb cameos from the great Athene Seyler and Sybil Thorndike playing two friends who plot to 'do in' an elderly admirer is made a great deal of by the director. The central story involving Glynis Johns is well told and each of the film's subsequent yarns make for a light but thoroughly enjoyable whole.

Like justabout everyone else here, I was scared out of my tiny mind when I first saw the third of the trilogy aged about 10.

Finally managed to see it again a couple of days ago, and I was amazed at how good this segment is all these years later. The tension is built up pretty much along formulaic horror movie lines, but it still manages to instill a feeling of impending terror. The special effects aren't really up to much, but that doesn't matter - the look on Karen Black's face throughout says it all.

Unlike 20 years ago, I did manage to get to sleep after watching this, but that's only due to being older and (slightly) wiser, and shouldn't take anything away from this superb short story.