Account Rendered

Through the 1950’s and early 1960’s, British studios produced plenty of hour-long “programmers” as first features (like American B films), typically telling simple stories against simple sets; most of these quickies were forgettable, but some stand out for their creativity, intricacy, or simple entertainment value, the latter category including films like John Kruse’s October Moth (1960), Vernon Sewell’s The Man in the Back Seat (1961), and this one, Peter Graham Scott’s Account Rendered. It’s quite remarkable how much plot Harper’s script and Scott’s direction are able to stuff into an hour. Griffith Jones stars as wealthy banker Robert Ainsworth, the primary suspect after his unfaithful wife Lucille (Ursula Howells) is found murdered on the heath one night. While Ainsworth had suspected Lucille’s infidelity and was spying on her that night, an accident had rendered him unconscious, so his culpability remains a question, even for himself. Other suspects include bitter artist and Lucille’s lover Franklyn (John van Eyssen), Ainsworth’s associate John Langford (Paul Gilbert) and his hysterical wife Nella (Mary Jones), and even the lovely Sarah Hayward (Honor Blackman), a close friend of the couple who wastes no time in revealing her feelings for Robert now that he’s suddenly available. Inspector Marshall (Ewen Solon) leads the briskly paced investigation, gathering sparse clues (a coat, a brooch) and navigating revelations and reversals until the climax at the railyard (this final setting should come as no surprise since trains constantly whistle in the distance throughout the film). For such a small outing, Scott manages some visual innovation (an opening dream sequence, an overhead shot of the crime scene) and creates distinct atmosphere on occasion.