This peculiar melodrama - set in yet another of those big country houses everyone lived in in postwar austerity Britain - resembles a cross between John Gilling's 'The Reptile' (1966) and Pasolini's 'Teorema' (1968) with a dash of Agatha Christie thrown in. The resemblance between this and 'The Reptile' can't be accidental, since Gilling also scripted this.
Veteran character actor Henry Oscar isn't exactly Terence Stamp however, which makes his magnetic hold over the women in this film one of several overwrought plot elements which the cast stolidly take in their stride but - aided by George Melachrino's flavourful score - makes the film strangely compulsive viewing until a 'twist' ending that made me groan out loud in outrage and disbelief.
Veteran character actor Henry Oscar isn't exactly Terence Stamp however, which makes his magnetic hold over the women in this film one of several overwrought plot elements which the cast stolidly take in their stride but - aided by George Melachrino's flavourful score - makes the film strangely compulsive viewing until a 'twist' ending that made me groan out loud in outrage and disbelief.