Cash on Demand (1961) User Reviews (61)

a solid caper flick

[dr_foreman · 8/10 · 2 February 2005]

When I was a teenager, Peter Cushing was my favorite actor; I simply loved his commanding performances in Hammer Studios' horror films. But when I eventually became more interested in dramas and foreign flicks, my appreciation for both Cushing and Hammer waned. I started to wish that Cushing had taken meatier roles in less lurid movies.

Thankfully, I just had the chance to see "Cash on Demand," a film that stretches Cushing's acting ability farther than most of his horror efforts. It's still a genre film – you could label it a crime/film noir movie – but nevertheless, it's got far more dramatic content and character development than the average Hammer film. Cushing is really superb as the cantankerous bank manager; his character is initially quite unpleasant, but as the plot unfolds he becomes gradually, genuinely more sympathetic.

It would be remiss of me to praise Cushing and forget to mention Andre Morell, who plays the debonair bank robber. His performance is wonderfully smug and, for lack of a better word, cool. The two actors have a great rapport throughout the movie, and together they hold the viewer's attention without the aid of any flashy sets or action sequences.

Clearly a modest movie, made for less money than it takes to film a TV show today, "Cash on Demand" is nevertheless a solid caper flick that deserves the attention of movie fans – particularly those who, like me, are interested in seeing Cushing flex his acting muscles outside the realm of vampires and other forms of animated corpses.

Cash On Demand is Utterly Grand

[reelreviewsandrecommendations · 8/10 · 20 October 2022]

Harry Fordyce is an exacting and priggish man, the manager of the City & Colonial Bank. He holds himself to a high standard, and demands the same of his staff. One day, a fellow by the name of Colonel Gore Hepburn arrives, claiming he is an insurance investigator who needs to survey the bank. However, it transpires Hepburn is in fact a cunning thief, who plots to manipulate Fordyce into helping him rob the safe. So begins a tense ordeal for Fordyce, the results of which are as unexpected as they are thrilling, in Quentin Lawrence's 'Cash on Demand.'

Based on 'The Gold Inside,' written by Jacques Gillies and featured on Theatre 70 in 1960, 'Cash on Demand' is a taut thriller that will keep you on the edge of your seat throughout its' run. David T. Chantler and Lewis Greifer's screenplay is terrific, featuring thoroughly believable characters, strong dialogue and much suspense. The initially aloof Fordyce is a particularly well-written creation, the character arc of whom is most understated and realistic. The terrifying journey Hepburn takes him on is one of high anxiety that will change him forever; and one which makes for an exciting experience for the viewer.

The film is produced by Hammer Film Productions, and was clearly a low-budget effort- the few, sparsely decorated sets being the clearest indication of this. However, it's a lovely looking flick nevertheless. Arthur Grant's black and white cinematography is striking, adding to the proceedings an atmosphere of film-noir. Grant primarily worked on horror films, and his work was always assured, stylish and memorable. 'Cash on Demand' may not be what he is best remembered for, but his efforts resulted in a distinct and beautiful looking movie that is a highlight of his filmography all the same.

The film also benefits from an evocative Wilfred Josephs' score, which adds supplementary tension to the already taut goings-on. Often, Hammer films suffered from overblown musical scores that robbed scenes of natural impact and drama. Josephs' is understated and effective in all the right measures. Additionally, editor Eric Boyd-Perkins' work is admirable, keeping the film's pace brisk, but not hectically so.

The late, great Peter Cushing stars as Fordyce, giving a performance of sagacity, vulnerability and depth. The heist situation forces the character to go on a journey of self-discovery, and he plays that out faultlessly. Like his dear friend Christopher Lee, Cushing was often pigeon-holed as "just a horror film actor" (particularly in the 60's and 70's) despite his great range. Though perhaps best remembered nowadays for his role in 'Star Wars' and as Van Helsing- and maybe by a few for his turn as Sherlock Holmes- in 'Cash on Demand' he gives a performance that is nothing less than a masterclass in acting; one which deserves to be lauded and more widely known.

Opposite Cushing stars André Morell as Hepburn, the villain of the piece. Morell also played the role in 'The Gold Inside,' and makes Hepburn a charming rogue that you can't help but feel a certain fondness towards. He and Cushing work together wonderfully, and the supporting cast deliver equally impressive performances- Richard Vernon in particular. Vernon plays Pearson, the head clerk of the bank, and is most natural, performing with an unpretentious ease.

'Cash on Demand' is a suspenseful thriller that borders on the film noir and will surely delight any who watch it. Featuring a fine screenplay and story, the film is unpredictable and tense. Benefitting from two excellent performances from Peter Cushing and André Morell, as well as an atmospheric Wilfred Josephs' score; it's a very memorable experience. It may be a low-budget affair, but 'Cash on Demand' is utterly grand.

Suspenseful bank heist film from Hammer

[WNYer · 7/10 · 8 November 2012]

A by-the-books bank manager is forced to rob his own bank by a charming thief who holds his family hostage.

Peter Cushing and Andre Morrell repeat the solid on screen chemistry they displayed three years earlier when they teamed up as Sherlock Holmes and Dr. Watson in Hammer's version of The Hound of the Baskervilles (1959). This time they are antagonists with Morrell playing the suave robber and Cushing - in a change of pace role - as the ultra priggish banker. Morrell is deliciously nasty but Cushing really deserves some acting kudos for creating a "jerk" of a character that you actually start to sympathize with as Morrell turns the screws.

Quentin Lawrence, a veteran of British TV, skillfully directs a tight script in a confined setting and keeps the tension high and story moving - almost like it's unfolding in real time. Once the normal routines and relationships are quickly established, he ratchets up the tension with Morrell's arrival and never lets up. The psychological duel begins and it's a treat to watch.

My only nitpick about the film is the ending which I thought was a little too neat and tidy for my taste.

Almost perfect

[heedarmy · 11 February 2000]

This delightful little low-budget film is one of Hammer's least-known efforts and also one of their best. The story is a reworking of "A Christmas Carol", as Peter Cushing's bank manager, a cold and austere man, and a petty tyrant to his staff, goes through a terrible experience which leads him to change his ways. Cushing is quite superb as the manager and Andre Morell almost as good as the urbane thief who controls events until the denouement. The plot twists and turns and the writing is first-class.

Fantastic thriller from Hammer studios!

[The_Void · 9/10 · 3 August 2009]

If you think of Peter Cushing in a Hammer production, it will be his roles in the colourful and camp horror films that will spring to mind first, and for good reason as it's those performances that defined the great actor; but Cushing and Hammer also combined on some non-horror films, and Cash on Demand is surely one of the very best of them; both in terms of the film itself and the performance from the great Peter Cushing. This is an absolutely brilliant thriller that works thanks to its simplicity, commanding and intriguing performances and well written script. The film focuses on a bank in a small town which is managed by the dedicated Mr Fordyce. His bank is disturbed one day by a caller who introduces himself as a man from the bank's insurance company, who has come to test the security. However, it transpires that the man is actually a bank robber, who has come to rob the bank, and he's got an associate in Fordyce's house ready to kill his wife and kid if he does not allow the robbery to take place!

Peter Cushing's performance in this film is absolutely immense and undoubtedly one of the best of his career. He gets his character spot on and is completely believable throughout the film and this is one of the main reasons Cash on Demand is such a success. He is joined by André Morell who is equally brilliant in his role as the debonair bank robber. Every scene in the film takes place either in the bank or just outside of it, and most of it takes place in Forsyce's office where we get to watch Cushing and Morell play a game of cat and mouse, which is always fascinating to watch. The film remains simple throughout and director Quentin Lawrence keeps his audience interested through the various elements of the plot. The film does have a few twists and turns, and of course the best of these is saved right up until the end. Overall, this is an absolutely great thriller that is well worth seeing and comes highly recommended! Unfortunately, the copy I saw was rather poor, which makes this a prime candidate for a pristine release on DVD!

The script is very good--the acting of Peter Cushing and André Morell make it exceptional

[planktonrules · 9/10 · 15 May 2011]

I was going to give this film an 8, but when I thought about how inexpensively and expertly the movie was made, I really think it deserves a 9. This is a great case of a relatively simple plot made a whole lot better by wonderful acting and direction. In particular, André Morell plays a deliciously evil yet complex villain and Peter Cushing gives what is probably his best performance in his long career. As a result, it's well worth seeing--and a great example for film makers, as it proves you don't need a huge budget and complex sets to make a good film.

The film is set in a bank. The manager (Cushing) is a humorless and exacting boss--very efficient but not one to inspire his employees' love or devotion. However you dislike the guy, though, you can't help but feel for him with what happens next. A guy who purports to be from the underwriter for the bank arrives and asks to meet with Cushing alone. The man (Morell) then announces that he is, in fact, a bank robber and that if Cushing does not cooperate, Cushing's wife and son will be tortured or killed. And, he provides a phone message with the scared wife to prove that he means business. What will happen next? Cushing IS a very efficient man, but he loves his family and can't let them be hurt.

Throughout the film, I marveled at Cushing. The actor was known mostly for his horror films, but he appeared in gobs of movies--but never one that allowed him such an opportunity to emote like this. Cushing is very, very convincing as a scared and lonely man who feels trapped. It's too bad that many of his other roles were a bit one-dimensional and didn't let him demonstrate he was a heck of an actor. Morell is also quite good--but his smooth criminal doesn't provide him quite the same depth and opportunity as Cushing's. This is Cushing's film.

An exciting plot, wonderfully written characters and great acting--what more could you ask for in a crime film?! See this one.

Brilliant performance by Peter Cushing

[blanche-2 · 7/10 · 4 July 2016]

From Hammer Films, "Cash on Demand" is a good thriller from 1961.

It's Christmas week, and in the office of City & Colonial Bank in Haversham, it's a quiet day. The small staff is managed by Harry Fordyce (Peter Cushing), a business-only nerd who exudes no warmth, no holiday spirit, and does not fraternize with the help. He won't even let the staff put up Christmas decorations.

Today there is a ten pound discrepancy and he's making a big hullabaloo about it, even though the error was spotted.

In walks Colonel Gore Hepburn (Andre Morrell), who represents the bank insurance company. He is doing a surprise inspection of the security. When he's alone with Fordyce, he informs him that he's a thief, there to steal the bank's money, and that he's holding Fordyce's wife and child hostage. One signal from the window, and they're done with.

Hepburn has the robbery planned down to the second, and Fordyce must play along. In the outer office, Hepburn acts like an efficient man, checking out the floor signals. Fordyce is a wreck but tries not to show it. He carries out all of his instructions, which include putting the money into suitcases (Hepburn's "luggage").

Very suspenseful film, and one wonders if Hepburn will be able to get away with the robbery, and if Fordyce will be implicated in any way.

Peter Cushing is tremendous in the role of Fordyce, cold, stern, and highly disciplined, living a life where there are no shades of gray and mistakes are not permitted. As Hepburn, Andre Morell is excellent, charming even when he's talking about the most deadly things.

The ending is a little rushed and a tiny bit confusing, but the story is a nice little take on "A Christmas Carol" with Scrooge Fordyce learning a few life lessons. Highly recommended. I saw this on a double disc with "Stop Me Before I Kill."

Cash on Delivery? Pah! This is Cash on Demand!

[hitchcockthelegend · 9/10 · 20 April 2012]

Out of Hammer Film Productions, Cash on Demand is directed by Quentin Lawrence and adapted to screenplay by David Chantler & Lewis Greifer from a play by Jacques Gillies. It stars Peter Cushing, Andre Morell, Richard Vernon, Norman Bird and Kevin Stoney. Music is by Wilfred Josephs and photography by Arthur Grant.

Hammer's Xmas movie has a kick and half.

In the opening section of Quentin Tarantino's "Pulp Fiction", robber in waiting Tim Roth tells his lover, Amanda Plummer, about how a guy robbed a bank with just a telephone. This principal is the core of Hammer's majestic "Cash on Demand", an intense, tightly constructed thriller that also provides proof positive of the acting talents of Peter Cushing, Andre Morell & Richard Vernon.

With minimal budget to work from and operating out of practically one set, director Lawrence gets the maximum suspense out of script with no blood letting or overt violence. This is very much about eloquent verbal sparring, the terror is in what might happen should Cushing's (superbly shifting of the acting gears as the plot unfolds) martinet bank manager not tow the slick line being drawn by Morel's (brilliantly playing his cards close to his chest) crafty thief.

A real gem and a pleasant surprise, both in technical merits and outcome of story. Highly recommended to all serious fans of Classic British Cinema. 9/10

Modest thriller

[adriangr · 7/10 · 23 March 2013]

Cash On Demand is a neat little thriller set entirely inside a very small bank with a very small cast. Peter Cushing plays a nit-picking bank manager who finds he loses his dry demeanour when he is at the mercy of a bank robber who has taken his family hostage.

The film charts the robber's fiendish plan to calmly loot the bank's safe of all it's money and walk out as though nothing is wrong, while all the time putting the terrified manager through the wringer. Cushing really excels in the role of the bank manager, and Andre Morell makes an excellent slimy criminal who you just want to punch the entire time.

As I said, the whole movie takes place in the one setting, and almost in real time too. It's enjoyable while it lasts, and you'll be wondering what will happen, but despite some attempts at dramatic moments(fumbled locks, an unexpected window cleaner, etc), the final payoff is very disappointing, as the film ends in a really weak, almost feel-good way,which negates the realistically tense 60 minutes that preceded it and gave me very little satisfaction for justice being done. In this way it's almost like William Castle film - he also bungles his endings in a similar way.

Cash On Demand is not very well known, but is worthy of a look if you like Peter Cushing as he definitely makes the film.

An Obvious Redemption Plot With Sublime Casting

[Theo Robertson · 8/10 · 3 July 2013]

Arrogant hard hearted bank manager Mr Fordyce receives a visit from a Colonel Hepburn who introduces himself as an insurance investigator . As they talk Fordyce receives a phone call from his wife saying she's being held hostage by men threatening to kill her . Hepburn then reveals himself as the man behind the hostage taking

I knew nothing about this film apart from the title , the fact it was produced by Hammer and it starred Peter Cushing and Andre Morrell . If the plot was two characters played by Cushing and Morrell watching paint dry for 80 minutes I would still have gone out of my way to watch it . Cushing and Morrell starred in the BBC's 1954 Nigel Kneale adaptation of Orwell's 1984 , one of the greatest landmark productions the BBC ever made . From a technical viewpoint it was rather primitive production viewed with modern eyes but at the same time has a power that is undiminished by time . Much of this is down to the acting skills of the two leads and the scene where Morrell's villain tortures Cushing's everyman hero remains stark raw drama at its best . Morrell also starred as the eponymous hero of QUATERMASS AND THE PIT and much of that teleplay's success is down to Morrell as the lead character

It's the casting that makes this somewhat staid , static British B movie something of an unknown forgotten classic . Peter Cushing forever synonymous with Hammer productions is cast against type as Mr Fordyce a cold , aloof , uncaring bank manager whose world starts to collapse as he's introduced to Colonel Hepburn played by Morrell . If you enjoyed Morrell as Quatermass you'll enjoy his performance here as he enjoys taking control of a situation that he is charge of . Bullying and authoritative , a genuine control freak he enjoys dominating Cushing's Fordyce without once ever going over the top . Cushing is equally as good , in fact it's possibly his career best performance

What let's the film down is the denouement which is very much ambiguous and open to interpretation . There's several ways you can read it none of which are entirely satisfactory but it helps if you watch the film at Christmas time and remind yourself of a famous Christmas fable by Charles Dickens . CASH ON DEMAND is an obvious redemption plot but the journey is far more important than the destination and the journey is enthralling down to the two leads

Clever and measured with excellent performances

[christopher-underwood · 7/10 · 28 April 2018]

Well written and tight little film with a fine performance from Peter Cushing and an even better one from Andre Morell. The former plays a Scrooge like, petty minded Bank Manager (very reminiscent of many that I encountered in my banking career!) and the latter the smooth talking and rather endearing robber. It is snowing outside and by the door is a Santa ringing his bell. With the mean natured manager, the gentleman thief and the allusions to Christmas, it is clear the shadow of Dickens hovers. As well as the crisp and effective dialogue there are just enough little incidents to maintain a certain level of tension and keep this afloat despite the absence of any sensational moments. Clever and measured with excellent performances from all the support actors, this just lacks a bit of spark.

Suspense never came better than this!

[bsfraser2003 · 10/10 · 26 December 2003]

This film is unbelievably riveting from start to finish. I first saw this film in the late sixties and never forgot this compelling tale of sheer suspense.It is rare indeed for a film with just two principal characters to sustain a film with sheer psychological terror. I'd say don't miss! (albeit, sadly, a little seen movie).

A Christmas Crime.

[AaronCapenBanner · 7/10 · 21 November 2013]

Quentin Lawrence directed this good crime thriller that stars Peter Cushing as Harry Fordyce, a bank manager who is introduced to an insurance investigator named Hepburn(played by Andre Morel) on the 23 of December. Ostensibly there to check security, he is really a ruthless and cunning thief who has an elaborate plan to rob the bank, and needs Fordyce's cooperation to pull it off, so convinces him that he holds his family hostage, and will have them murdered by his associates if he doesn't signal to them his agreeing to help. Fordyce decides to cooperate, all the while trying to find a way out... Fine film with two stellar performances, especially Cushing, who proves that he can act quite well outside the horror genre he was best known for.

Great Expectations, Scrooged

[Joseph_Gillis · 4/10 · 30 December 2015]

Although the friend who'd raved about 'Cash On Demand' has - to maintain the Dickens analogy - provided me with at least as many 'worst of times' for his thumbs-up verdicts, as he has 'best of times', so effusively did he praise this one that I really had to check it out; and, anyway, I'd already bought the DVD box-set.

But he really should have warned me about the 'Christmas Carol' connection because, once I'd made the seasonal connection - not so subtle, given the early calendar shot - and spotted the Bob Cratchitt character, and then his Scrooge, and - somewhat less certainly, as I don't recall the nuances of his character - the Jacob Marley character, it really didn't matter how close or otherwise the script and plot would follow its Dickens inspiration, as I was always expecting it to, and watching through to the end credits was more a case of: "well, I've started, so I'll finish".

Peter Cushing's character was different to his usual, and I suppose in that he was relatively convincing, but André Morell's part was always going to be the most winning, and he revelled in it.

A massive disappointment: Bah, humbug!

Proof that Hammer made fine movies away from their trademark gothic horrors.

[jamesraeburn2003 · 3 October 2018]

Harry Fordyce (Peter Cushing) is a strict, exacting and rather mean spirited bank manager who is unpopular with everyone (including his staff) who dislike his fussy and micro management style. But, his life is dramatically changed one Christmas when he is visited by a smooth bank robber called Colonel Gore Hepburn (Andre Morell). Posing as a representative from an insurance company to secure access into the bank, he threatens Fordyce with the lives of his wife and son in order to force him into helping him steal £97.000 from the vault. But, is the Colonel all that he appears to be and could the ordeal encourage Fordyce to become a better man?

If proof were ever needed to show that Hammer could make worthwhile movies away from their trademark gothic horrors then this deeply felt 'B' pic crime drama could well be it. It has been described as the studio's take on A Christmas Carol and that is a fair comment since the plot revolves around Cushing's mean spirited banker ( a sort of Ebeneezer Scrooge character) who is encouraged to change his ways by Morell's cunning and undeniably ruthless crook, but who also has a deep interest in people and their character with a generous kind hearted streak in him. He acts as Jacob Marley and the Ghosts of Christmas Past, Present and Future all rolled into one, but the difference here is that he is a more earthly spirit. Directed by the underrated Quentin Lawrence whose credits include such TV classics as The Avengers, Gideon's Way and instalments the long running British soap opera Coronation Street does an incredible job of sustaining the suspense and intrigue, which is especially remarkable since 99.9% of the plot unfolds from a single set. He is much aided in this by the sharp editing of Eric Boyd Perkins. The audience is teased and kept guessing all the way as we wonder if Morell's villain is really what he claims to be. For instance, by the way he forever encourages Cushing to value his family more and to treat his staff with more respect - he forces him to contribute to the fund for their works' Christmas do - if the robbery could be make believe and perhaps an elaborate charade laid on by either his colleagues or his family to get him to see the error of his ways. Or, perhaps it is genuine since a number of incidents occur along the way which threaten to compromise the success of the job and we are kept on the edge of our seats wondering if the wife and son (whom we only hear on a telephone and see in a photograph) are about to be really imperilled. The performances from Cushing and Morell, two of Hammer's greatest stars, are a joy to behold and it will amuse you to see how seriously the former always took his parts by the immense attention to detail he put into them.

All in all, a gem from the Hammer studio that should on no accounts be missed by its fans and lovers of great movies alike.

Excellent thriller

[Woodyanders · 8/10 · 3 May 2010]

Two days before Christmas and all is not well in the bank. Austure, fastidious, and domineering bank manager Fordyce (the always superb Peter Cushing in top form) finds himself at the mercy of urbane and wily criminal Hepburn (marvelously played to the smooth and smug hilt by Andre Morell), who forces Fordyce to assist him with robbing his bank or else Fordyce's abducted wife and son will be severely hurt. Director Quentin Lawrence, working from a sharp and witty script by David T. Chantler and Lewis Greifer, ably milks the gripping story for maximum suspense and maintains a steady pace throughout. Lawrence downplays action in favor of focusing instead on tension and the shrewd bristling verbal sparring between the two principal characters. Moreover, this movie is essentially a clever thriller version of "A Christmas Carol," with the initially unlikable Fordyce becoming more and more sympathetic as he learns a much-needed albeit harrowing lesson in humility and thus regains his humanity while doing his best to stay calm and collected under intense pressure. Cushing and Morell do outstanding work in their roles. Richard Vernon likewise does well as kindly chief clerk Pearson. Both Arthur Grant's crisp black and white cinematography and Wilfred Josephs' shivery score are up to par. A real dandy sleeper.

The Silent Partner.

[morrison-dylan-fan · 9/10 · 2 November 2019]

When reading up for details on The Silent Partner and Think of a Number (1969-also reviewed) I found out about a earlier Hammer Noir with what sounded like a similar setting. Being very lucky to recently find Number with English subtitles,I was thrilled to find CoD in a Hammer Suspense box set I found on eBay, which demanded a viewing.

View on the film:

Setting the watch from the moment Hepburn enters the bank, director Quentin Lawrence & cinematographer Arthur Grant click a real-time Film Noir with masterful procession,drilling Hepburn's detailed outline of the heist plan he tells Fordyce with match cuts to Hepburn following a section of the plan,(such as Hepburn giving Fordyce orders to enact a part of it in 5 minutes, which then plays out 5 minutes later into the run-time.)

Not even offering humbugs to staff as a X-Mas gift, Lawrence superbly uses snow on the windows and winter clothes to enhance the icy Hammer Noir atmosphere, snowing it down in graceful long panning shots from the frosty window of Fordyce's "Chamber Piece" office to close-ups on Hepburn sitting in a chair keeping Fordyce walking on thin ice.

Banking on Jacques Gillies's original play, David T. Chantler and Lewis Greifer's adaptation wonderfully pays out to A Christmas Carol, as Fordyce tuts at each staff member getting into the holiday season, until he discovers the Christmas spirit himself, when it's all too late.

Giving his lone warm greeting to Hepburn due to how redefined he looks, the writers brilliantly turn Fordyce's beliefs inside out with cracking slow-burn Film Noir dialogue tearing the towering power he displays in front of his workers strip by strip, into the hands of the quietly confident, calculating Hepburn.

Spending the whole film with just one other person, Morell gives a incredibly layered turn as Hepburn. Rumbling in as a puffed-up little Colonel, Morell bursts the bubble with a striking underlying menaced, carried in Morell having Hepburn hand out orders and threats to Fordyce with a strict master thief professionalism. Spending almost the whole movie just with Morell, Peter Cushing gives a exceptional, measured turn as Fordyce, whose Scrooge complexities Cushing delicately unwinds to icy fear from Hepburn asking for cash on demand.

CASH ON DEMAND (Quentin Lawrence, 1961) ***

[Bunuel1976 · 7/10 · 1 January 2012]

Having been a bank employee for a number of years now, I guess I have a subversive fondness for caper thrillers, especially those dealing with robberies from vaults and which generally involve hostages being taken. Although they have been known to happen locally even during my tenure, luckily I have never been subjected to one…although last year's mid-year attempt was quite a close call! Anyway, this renowned British example of this subgenre – atypically produced by Hammer Films for all of £37,000! – gives studio stalwarts Peter Cushing and Andre' Morell (formerly paired as adversaries in a famous 1953 TV adaptation of 1984 – that I have yet to watch! - and as celebrated duo of Sherlock Holmes and Dr. Watson in their atmospheric 1959 adaptation of THE HOUND OF THE BASKERVILLES) arguably the best non-horror roles they ever had during their stay at Bray Studios.

Although the IMDb mistakenly gives the film as being a 1962 production and a mere 66 minutes in length, the truth of the matter is more complicated: its U.S. distributors Columbia released it over there as early as December 1961 but the movie would not be officially screened on its home-turf until October 1963; its running time, then, is actually 80 minutes! Based on an earlier TV episode of THEATRE 70 entitled GOLD INSIDE which also shared the same director and starred Morell but with one Richard Warner enacting the role later handled by Cushing. Indeed, the Christmas period during which the narrative is set and Cushing's own fastidious and glum character make this seem like a smart revisit of Dickens' Yuletide perennial about a certain cantankerous miser who goes by the name of Ebenezer Scrooge! Cushing, in fact, plays a strict and unloved manager of a small banking branch in the suburbs who is as distant and authoritarian with his staff as he seems to be with his wife and child. Morell is the at-once gentlemanly and ruthless thief who poses as an auditor from Head Office out to inspect this particular branch's security standards.

The fact that a recent minor cash difference had just put a young teller (Barry Lowe) and the Chief Clerk (Richard Vernon) at loggerheads with their Manager only exacerbates the tension already present within the enclosed environment and ensures that a series of errors (i.e. security breaches) are committed that enable Morell's ease of entry into Cushing's office from which he will be conducting his cunning plan of filling up four suitcases (which he had Lowe bring back inside from his car parked outside!) with the bank's entire cash holding of £93,000 since there is a direct passage to the vault downstairs from there! This being the early 1960s, it still presents the old-fashioned picture of a branch manager holding one of the keys to the keys to the bank's strongroom with the other held by the Chief Clerk but that situation is all the more plausible for the film being set in a small branch. Morell tells Cushing that he had been planning the heist for a year and one is bound to believe him since he knows every little detail concerning not just the bank's security procedures but also its individual employees! In fact, some accomplices are apparently holding Cushing's family hostage and have orders to kill them if the appropriate signals are not given from Cushing's window. The plan goes smoothly for Morell (despite the occasional slip-up from a broken-down Cushing) but he has not reckoned with Norman Bird (as an eager-to-please bank employee who belatedly checks up on Morell's identity with Head Office) and Kevin Stoney (as an overzealous new Police Inspector in town)...

Apart from the aforementioned stars and a handful of behind-the-scenes mainstays, most of the people involved in the film were not Hammer regulars; even so, it still emerges as one of their worthier straight efforts and is miles removed from even their other thrillers: the telephone sequence with Cushing and his 'family' and the sudden realization of Morell's true intent is more genuinely spine-tingling than anything out of the studio's more renowned chillers! Still, the miniscule budget ensured that no attempt is made to open-up the story (which would have justified this big-screen transposition!) but, on the other hand, this enables it to retain the inherent claustrophobia elicited by its one-set plot; one other quibble involves the finale, which could have been rendered in a more exciting manner! While Cushing's characterization is impressive (it was a pleasure to watch him crack under the strain and become recognizably humane – albeit still reservedly – towards his "subordinates") as always but Morell is a particular standout here (since he was rarely given the opportunity to play lead roles, notable exceptions being the original TV serial QUATERMASS AND THE PIT {1958} – later condensed for a movie remake by Hammer themselves but starring Andrew Keir{!} – and the company's sole foray into living-dead lore THE PLAGUE OF THE ZOMBIES {1966}) as the charming villain who can just as easily display his menace through the tone of his voice as the use of his hands. Interestingly, director Lawrence was the man behind the Hammer-esque sci-fi effort THE TROLLENBERG TERROR aka THE CRAWLING EYE (1958; which I just caught up with last year) and THE MAN WHO FINALLY DIED (1963; another thriller featuring Cushing that I have in my unwatched pile). For the record, having already acquired a mediocre-looking copy of the film some years back, I eventually upgraded to a vastly superior one sourced from Sony's barebones disc as part of their "Hammer Films: The Icons Of Suspense" 6-film 3-disc set.

Just another day at the office...

[mark.waltz · 8/10 · 12 March 2013]

Peter Cushing learns a thing or two about humility in this exciting caper drama set in the world of banking. When an alleged agent from a banking insurance agency shows up in his office, Cushing (who has just told off practically every member of his staff and threatened to fire one) finds himself pushed into a corner when the agent turns out to be a robber who tells him that his men are holding his wife and son hostage and unless Cushing turns over 93,000, his men will have his wife electrocuted, not killing her, but leaving her totally mentally incapacitated. This puts the usually controlling Cushing into the position of being the controlled, and gives the audience an insight into the emptiness of this man's soul.

The severe face of Cushing is well utilized for the character of Mr. Fordeyes (a Dickens-like take on "Four Eyes" for this be-speckled character perhaps?), an Ebenezer Scrooge if there ever was one. The fact that this takes place near Christmas time and the staff members of the bank are discussing whether or not there will be a Christmas party makes that comparison even more perfect. The audience also gets to look both into the criminal mind and the security workings of a bank, and each twist and turn that this caper takes will bring you close to the edge of your seat. It isn't the banker you care about, but the staff and his unseen wife. Eventually, as his desperation becomes more apparent, you do begin to feel something for Cushing, if at least pity. André Morell delivers a sly performance as the alleged Colonel, while Richard Vernon is also excellent as the chief clerk whose 10+ years of service are being threatened by Cushing's accusations of incompetence. In the end, this is not only a caper film, but a drama about the importance of compassion and understanding in the work place, something we can all identify with.

Another Fine Film From Hammer Studios...They Did So Much With So Little

[LeonLouisRicci · 7/10 · 9 August 2017]

Stiff Suspense from Hammer Studios with a Good Cast Led by Peter Cushing and Andre Morell. It's all Tight and Closed In with the Camera Never Leaving the Confines of a Bank (unless you count the sidewalk out front) .

It's Christmas Time so let's get the Dickens Comparisons going. The Film is Based on a Play and it Plays Out that way for the 80 Minute Duration.

The Movie's Mania is Solidified by Morell's Character who is Increasingly Aloof and Off His Rocker. This Goofball has "Gone Fishing" by the Final Scenes. This is all Finely Contrasted by Cushing's Paranoia, Guilt, and Devotion to His Wife and Son and Plays it All as Serious as a Heart Attack.

Overall, it's Good Stuff from Hammer. If it's a Hammer Film it's Worth a Watch.

The British Studio could Do No Wrong it seems and Produced One Fine Production After Another. Monster Remakes and Follow Ups were Their Forte, but Occasionally Branched Out and Delivered Neat Little Gems in other Genres and Never seemed to Disappoint.

No other Studio Made so many Fine Films with so Little Resources. Although to be Fair, for Comparison, in America, the Same could be said of Roger Corman.

A well executed thriller.

[Hey_Sweden · 8/10 · 15 December 2013]

December the 23rd. The City & Colonial Bank is visited by a charming stranger identifying himself as Col. Gore Hepburn (Andre Morell). He asks to speak with bank manager Harry Fordyce (Peter Cushing), who's a harsh, demanding, detail-oriented type who doesn't care to get to know his employees better. Soon Hepburn is revealed as a very clever and ruthless bank robber who forces Fordyce into being an accomplice by threatening Fordyces' wife and son. In a short span of time Fordyce shows a touch more humanity by revealing what it is in the world that he cares most about.

Director Quentin Lawrence ("The Trollenberg Terror") does a creditable job with this meaty script, written by David T. Chantler and Lewis Greifer based on a play by Jacques Gillies. And one can tell that this is based on a play, with the accent on dialogue, but it's interesting and riveting all the way through, with very taut direction by Lawrence who gets superb performances out of his two talented leads. Cushing is a joy to watch as a man who becomes more sympathetic as the story plays out. And Morell is fun as the dapper, (mostly) calm thief. Solid support is provided by Richard Vernon as Pearson, the banks' second-in-command, Barry Lowe as the teller Harvill, and Kevin Stoney as Detective Inspector Mason.

Also indicating a stage origin is a limited number of sets, but this only serves to give this superior film an intimate feel and help us to get completely involved in this twist-laden plot. And the story, which works as a variation on the classic Dickens tale "A Christmas Carol", is irresistible for its theme of a person in need of some redemption.

Slickly made in every respect, this is among the best of the black & white Hammer thrillers.

Eight out of 10.

Just a Nice Sociable Little Bank Robbery

[rpvanderlinden · 7/10 · 25 December 2019]

What I liked most about this crime caper is how it preserves and honours the humanity of its characters, particularly the two leads, the bank manager, Fordyce (Peter Cushing), and the robber, Hepburn (Andre Morell). It's clear from the outset that Fordyce is a troubled man, and that his meanness and pathological obsessiveness cover up deep insecurities. He's a tin-pot tyrant, with little or no understanding of people. Watching his perfectionism as he hangs up his coat is fascinating. He's a lonely man. Later in the film he cries out in desperation, as his world falls apart, begging for mercy for his family because they're all he's got - he has no friends.

Hepburn is the opposite - gregarious, confident, boastful, even charismatic. He sees through people, and he's got Fordyce nailed, and in a tither. He can don an aura of menace that is very convincing, but is it just show? We eventually find out.

Watching these two men go at it is the essence of the movie, and I have to say that I have rarely, if ever, seen a match-up so exciting and exhilarating in a movie. Both actors bite into their roles as if they were juicy plums. The tables are turned on Fordyce as Hepburn baits and humiliates him, just as Fordyce did earlier to his loyal clerk, Pearson (Richard Vernon). And Pearson finally has his moment, too. As the robbery unfolds, and an increasingly desperate Fordyce (actually, both men are desperate) tries to keep it together, the suspense ramps up to unexpected heights.

This is due to a script that is crisp, clean, witty and focused, and to direction by one Quentin Lawrence that is restrained but articulate (I started to notice his cannily placed camera, making the most of the interior spaces and subtly underlining the drama). All of the supporting characters (and actors) stand out. Everyone involved in this project seems to have been inspired and, in the case of Cushing, grateful to get such a meaty role.

I will say one more thing. This is a low budget, black-and-white 1962 British movie with virtually no violence. Yet it is so fresh and natural that, I think, it would play well to younger audiences today if they would give it a chance. A lovely surprise - thank you, Turner Classic Movies / Noir Alley.

This is a brilliant film!

[Zar · 10/10 · 13 June 2000]

This is a brilliant film! A psychological thriller and also a clever variation on A CHRISTMAS CAROL. Peter Cushing, in perhaps his best performances ever captured on film (along with THE ABOMINABLE SNOWMAN, FRANKENSTEIN AND THE MONSTER FROM HELL and the BBC play "1984"), plays an unsympathetic bank manager blackmailed into robbing his own bank by cunning gentleman-thief Andre Morell (in a rock solid performance). The great moment comes when Cushing who has bullied his staff all the time must beg them to help him cover up the robbery - if not, his family will be killed. I won't reveal more, it would spoil the fun.

A small but worthwhile thriller

[JasparLamarCrabb · 6/10 · 8 November 2012]

This Hammer production is not like any other. There's no monster to be found and Peter Cushing plays the (mostly) good guy! He's the Scrooge-like manager of a bank, visited upon by an insurance inspector (André Morell) only to find out he's been duped into assisting in a robbery. Based on a play but nevertheless suspenseful enough to be cinematic. Director Quentin Lawrence wisely keeps his camera moving...whizzing between rooms and up & down stairs. Cushing is dynamite in a role that elicits sympathy despite the fact that he's a mean-spirited company man...goading his underlings with petty complaints (the bank pens are not up to snuff) and constantly reminding them of their workplace class structure where he is, of course, on top. Morell is quite good as well, straddling between efficiency and pure evil. One flaw: what could have been quite an ironic ending is dulled by too much explication. Richard Vernon is exceptional as Cushing's nervous subordinate.

Cash on Demand

[henry8-3 · 5/10 · 25 May 2021]

Peter Cushing is the rigid, unappreciative manager of a small bank branch. Andre Morrell, claiming to be a security consultant for the company, is in fact a ruthless bank robber who tells Cushing that if he doesn't comply his wife and child will be killed.

Enjoyable enough British chamber piece with good performances by the 2 leads backed up by a solid enough script. It doesn't exactly set the world alight but it's enjoyable and believable with a bit of fun at the end.