This is a moderately entertaining, if rather insipid, film based on the BBC radio series written by Francis Durbridge, with Paul Temple, the writer of detective novels, acting as a detective himself. Here he is played by John Bentley, the first of his three films as Paul Temple. He is a very personable and adequate actor for the role. His wife 'Steve Temple' is played in lively fashion by Dinah Sheridan. She looks so eerily like the contemporary British actress Rosamund Pike that I kept imagining I was watching Pike in the role. A true mystery would run something like this: could they possibly be related? Both were born in London. Oh well, probably not, but it is just uncanny, that's all: a case for Paul Temple. And as all writers named Temple know, solving mysteries can be a lot of fun. The credited continuity girl for this film was June Faithful, although it does not appear in her list of credits on IMDb. I knew her much later in her career, and have absolutely no idea whether she is alive or not, for that is not recorded on IMDb either. This was probably her first continuity job. The cinematographer for the film was Geoffrey Faithful (and in his case, it does appear on his lengthy list of credits on IMDb; he died 1979, aged 86), who shot VILLAGE OF THE DAMNED (1960), MURDER SHE SAID (1961), and countless other films between 1913 and 1971, when he retired. He was probably June's father, and may have got her into the job on this first picture. This film is notable for containing much excellent location cinematography of the town of Canterbury as it was in 1947, with streets nearly empty of traffic, and before the town was largely ruined by tourism, chain stores, and rampant commerce. Much of the action is set there. A lot of the cinematography is atmospheric, commencing with the opening sequence inside the corridor of a moving train at night. If only the story and the direction had been better, this film could be something of a classic, but alas, it is not. A series of murders of women are taking place, and various sinister characters are 'set up' for us as either the real culprit or as red herrings, one of them played by the remarkable Burmese-Jewish actor Abraham Sofaer, who never failed in many a film to deliver an impeccably chilling rendition of a potential villain, aided by his weird looks. Another possible villain of the piece is ominously played by Hugh Pryse, who does a really good job of it indeed. Pryse died at the age of only 44 in 1955, only seven years after this film. He should have gone on to enjoy a distinguished career as an older character actor, for which he was eminently suited. Who is really killing all these women? They all turn out to be patients of Abraham Sofaer. Well, you can imagine the rest, but I shall not tell whodunit because that would be telling whodunit.
