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Once the opening credits have finished, the main plot of the film starts with the daughter of the murder victim feeling almost positive that she knows who is responsible for the deed but at the same time, unable to prove it, as nobody has been able to work out how the act was committed, and therefore the killer has got away with it. What we have here instead here is a 'who will find out' plot. So from the very beginning we know this is not going to be a whodunnit. The film starts right off with it's main murderer on screen committing his evil deed, clearly establishing his (and the film's) gimmick of the snorkel used as an accessory to murder. Minor but entertaining Hammer thriller, not quite reaching the heights of other entries in their 'psychological thrillers' ouevre, but still effective. 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. Miller makes Candy a sympathetic character, and with his facial features van Eyck was obviously a natural for screen villainy. 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. The looks he keeps giving her show that he thinks that he'll have to kill her just to shut her up. Rather, the tension arises in Candy's predicament, and whether or not she'll be vindicated before the evil Paul strikes again. 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. 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. Will she ever obtain the proof she needs that Paul is a creep? People like her chaperone Jean Edwards (Betta St. With so many thick headed adult characters, you truly feel her frustration and desperation. But the adults around her keep stubbornly insisting that she *must* be making all of this up. Mandy, who also believes in her heart that Paul had similarly murdered her father once upon a time, sticks to her guns. 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.

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