"Endless Night" follows working-class freewheeling chauffeur Michael (Hywel Bennett) who falls in love with a billionaire heiress Ellie (Hayley Mills). The two marry, and build a large estate on property in the English countryside known as Gypsy's Acre, which is purported by locals to be cursed land. After Ellie's relative Greta (Britt Ekland) arrives to stay, a series of bizarre events unfold, including ominous encounters with an elderly gypsy woman who roams the property.

Based on the Agatha Christie novel, director Sidney Gilliat takes the meat of Christie's novel and puts unique twinges on it that are reminiscent of Hitchcock (Bernard Herrmann's spooky score understates this). The film is admittedly slow, especially in exposition, and there are few quote-unquote thrills to be had, but I found this film strangely compelling in spite of its odd pacing.

There is a consistent sense of unease that permeates nearly every scene, although it's difficult to put your finger on what is exactly the cause. The photography in the film is fantastic, capturing the rolling landscapes and the cloudy skies surrounding the manor; this is punctuated by subtle scares that come in the form of various figures lurking below on the hillsides or in the woods, almost like indistinct figures in a painting. The film is at times reminiscent of English Gothic in its aesthetics, even though the house itself is very much "retro '70s" in both style and furnishings.

Solid performances from Hywel Bennett and Hayley Mills really shine here, with Mills being especially memorable as a good natured girl who happens to be a billionaire ("world's sixth richest!"). Britt Ekland is also great as the stalwart and fawning relative— her performance really comes full circle in the finale, which provides her the bulk of the role's dynamics, and she handles it fabulously. The conclusion to the film is fairly routine by contemporary standards, although I can honestly say that I didn't see the plot twists coming, so props to Christie and the filmmakers' handling of the material— I was definitely had by the film.

Overall, "Endless Night" is an enjoyable and well-acted picture that seems to have been forgotten in time. It is too slow to qualify as a full-blooded thriller, but there are tinges of a British psychothriller here with some genuinely bizarre and eerie moments that stand out among effective cinematography and a disquieting score. In spite of the film's lackluster pacing, it is unexpectedly transfixing, and manages to hold one's attention until the head twisting finale. 7/10.

Around 45 years ago, when I was just a young lad, Hayley Mills was my favorite actress, and her 1962 film "In Search of the Castaways" was my favorite film, but between this and that, I don't think I've seen Hayley in anything since 1965's "That Darn Cat." How nice, then, to see her, the other night, at age 26 in the 1972 British film "Endless Night," and to realize what a nubile nymph my old flame had turned into later in life! In this adaptation of a 1967 Agatha Christie novel, Hayley plays Ellie Thomsen, the 6th richest girl in the world, who, after one date with pretty-boy chauffeur Michael (excellently portrayed by Welsh actor Hywel Bennett),elopes with him and builds his dream house in the Herts countryside. It is hard to figure out what words best describe "Endless Night." It is not really a horror movie, or a love story, or a thriller, but certainly does have elements of all these types. The picture IS remarkably atmospheric, in no small measure due to yet another wonderfully evocative score by the great Bernard Herrmann, and should manage to baffle most viewers who are trying to figure out just where the story line is going. Besides the fine work by its two leads, veterans George Sanders (here in one of his last roles, and playing what his character self-describes as a "desiccated old poop") and Lois Maxwell add sterling support, and even Britt Ekland turns in a convincing performance as Ellie's tutor/companion. Throw in some gorgeous scenery in the Herts and Positano countrysides, a surprise final quarter hour that manages to subvert everything we thought we knew, and two or three mild scares and you've got yourself one very interesting entertainment. Kudos, indeed, to writer/director Sidney Gilliat! I just hope that I'm not foolish enough to wait another 40 years before watching Hayley Mills in another picture. Perhaps it's time for me to finally check out Hayley and Hywel in 1968's "Twisted Nerve"...IF it ever gets released on DVD!

I am a huge Agatha Christie fan, and Endless Night is no exception. The book is not quite the masterpiece I would deem as The Murder of Roger Ackroyd, A Murder is Annoucned and especially And Then there were None, but it is very interesting and psychologically complex. This film adaptation is every bit as interesting, while it meanders slightly in the pace in the middle act it benefits from a fine cast and a great story.

The story is typical Christie, which means very interesting with enough suspense to satisfy complete with a final solution that is delightful and shocking. I do think some of the book was more suspenseful, but Endless Night here does do a good job in conveying an atmosphere that is both resolutely creepy and unsettling. It is also quite unusual, as has been observed it isn't the twists or red herrings that form the story of Endless Night it is the characters and their relationships. A vast majority of the time, the characters are developed well and the relationships and situations are believable enough.

The production values are top notch, the photography is suitably atmospheric while the scenery, lighting and costumes evoke the period beautifully. The score from maestro Bernard Hermann is both jaunty and haunting, the script is decently written and doesn't feel too stilted and the direction is admirable. The cast do a fine job, Hayley Mills is wonderful to watch, and Britt Ekland and George Sanders in one of his last films and roles do a solid job supporting her.

All in all, a very interesting adaptation. 8/10 Bethany Cox