Diagnosis: Murder

Diagnosis: Murder is not the Dick Van Dyke show but a compelling drama starring the great versatile actor and future Knight of the Grand Cross, Christopher Lee,playing the main suspect in a murder mystery. It has more twist and turns than the most crooked street in San Francisco. If you want a good fright, this film is worth it. I saw it last night on Metro TV and loved it with the wonderful British scenery and a great script too. Christopher Lee is one of Britain's best loved and known film actors. Acting in movies is looked down upon by stage actors although they would sell out in a minute to become a film star. it is not an easy genre to play in and Christopher Lee plays his characters thoughtfully and better than any known stage actor. He is a veteran actor of the horror genre and I pray that he is knighted on day. Nobody can compare to his film history.

Impossible to miss this movie, played by the extraordinary Christopher Lee and directed by the very competent Sidney Hayers (I've never seen any bad movie by him, the very best being "Burn, Witch, Burn"). And Christopher Lee is a sadistic psychotic killer manipulating police. Very impressive, not gory, plenty of twists, impossible to get bored, it grips. A must see.

"Diagnosis: Murder" constantly feels like an extended episode of "Midsomer Murders", or any other random Krimi/crime investigation TV-show, but nonetheless a very good episode and – more importantly – one starring the almighty Christopher Lee in another terrifically sinister role. Although I can't find any info or articles to confirm, the film often gives the impression of actually being the pilot of a TV-series that eventually never aired. Some of the sub plots, notably the one revolving on Inspector Lomax' relationship with a married woman, indicate there was a lot of extra subject matter to embroider with the same lead characters, but alas, the TV-show never came. "Diagnosis: Murder" is an engaging little murder-mystery, opening with truly frightening of a woman under the attack of an unidentifiable man with a shotgun. The woman turns out the wife of eminent psychiatrist Dr. Hayward, and he reports her missing immediately after the assault. Hayward promptly becomes the prime suspect in the case, especially because Insp. Lomax receives anonymous letters accusing appointing the pompous doctor as the culprit. The investigation initially leads nowhere, but Insp. Lomax is somehow convinced Dr. Hayward knows more about the disappearance of his own wife. The first and most major revelation of the plot comes quite early in the film (so early even that the synopsis on IMDb spoils it … so don't read!) but luckily the screenplay provides more than enough extra twists and hidden sub plots to keep the wholesome compelling until the very end. Moreover, the movie even ends somewhat mysterious and open for new material, which once again raises the impression the film is a forerunner of a series. "Diagnosis: Murder" obviously isn't gory, but it's an involving story-driven thriller with an uncanny atmosphere throughout. The rural British filming locations are adequately chosen (especially the secluded lake) and director Sidney Hayers could rely on a terrific ensemble cast. Christopher Lee is impeccable as always, but here he receives excellent support from John Finch, Tony Beckley and Judy Geeson. "Diagnosis: Murder" is extremely obscure and almost impossible to track down for some reason, but well worth tracking down if you're into typically British thrillers.

This film was basically meant for TV with the quality of the cast and a largely well known in the US British cast and a script by Ivan Goff, Ben Roberts and Philip Levene and was originally intended for showing on TV in the US and a theatrical release in the UK but it only got the latter.

I had long wanted to check out this British thriller (mainly because the Leonard Maltin Movie Guide gave it a surprisingly favourable write-up) co-starring Christopher Lee – but had been wary of the prospect since all the sources I have checked give the film's running-time as 95 minutes, whereas the only available print lasted for only 83!; with the actor's recent passing, I acquired it regardless to include in my ongoing tribute. Having watched it now, I pretty much agree with Maltin's opinion – but, to be fair, for most of the duration I was prone to slash off half-a-star from the rating; the reason for this is the fact that the film-making on display is essentially no different to what was contemporaneously being proposed on TV: one would expect a theatrical release from this era – particularly since British cinema was virtually in the doldrums by then – to include a modicum of sex and violence, but these are hardly in evidence (if at all)! As I came to learn after the fact, the film was indeed intended for TV but was released theatrically anyway; whatever the case, the opening abduction sequence plays out like something out of the cult espionage TV series THE AVENGERS (1961-69)!

The premise is straightforward and typical, but nonetheless engaging (if somewhat improbable): the wealthy wife of a doctor (Lee) goes missing and he comes under suspicion, especially since he may be carrying on an affair with his secretary (Judy Geeson); the police investigation is handled by a gaunt-looking Jon Finch (due to an as-yet untreated diabetic condition) who, apart from keeping his hair long and drinking on the job, is struggling with 'domestic' problems of his own (he contemplates quitting girlfriend Jane Merrow, who is forced to tend to her ungrateful crippled husband). Eventually, it transpires that Lee is really guilty – with Geeson soon made an unwitting accomplice – and wants to inherit his spouse's fortune (whom he keeps hidden away in a remote countryside place, leased under an alias, and is slowly poisoning); at one point, he tries to explain himself to his lover by saying that he does not have 40 years to live that he can comfortably wait for what is lawfully coming to him – in hindsight, it is quite moving to realize that Lee had exactly that amount of time at his disposal before passing away! Despite having a full schedule of patients and with a policeman constantly tailing him, the doctor is regularly able to flee his workplace in order to carry out this nefarious plan with relative ease (indeed, Lee's portrayal is perennially cool and collected – albeit with a barely-disguised sadistic streak).

The film is certainly enjoyable along the way (though the ostensibly redundant subplot involving Merrow's plight is admittedly dull) and is aided immeasurably by Laurie Johnson's pulsating score; what really gives DIAGNOSIS: MURDER (nothing to do, incidentally, with the much-later and long-running TV show starring Dick Van Dyke) its raison d'etre, however, is the clever double twist at the climax (the first of which recalls to some degree the ending of TASTE OF FEAR {1961}, also with Lee) and the second proving quite cynical (stressing the comparable situations plaguing both hero and villain within the narrative).