Bedridden and ailing for several years, it was no surprise when death came to wealthy dowager Edwina Black. The late Mrs. Black, however, will not be mourned by most of the community in the small English village where she resided-certainly not by her henpecked husband Gregory (Farrar), the town's schoolmaster, nor her female companion Elizabeth (Fitzgerald), both of whom are relieved at finally being free to express their love after conducting a not-so-secret affair for some time.

But when the town doctor (Harcourt Williams) conducts a post-mortem, death by natural causes is ruled out as he found large traces of arsenic in Edwina's remains.

Inspector Martin of Scotland Yard (Roland Culver) suspects that the couple engaged in a bit of foul play and patiently plays a game of cat-and-mouse in hopes of implicating them in the crime. Ellen (Jean Cadell), Edwina's fiercely loyal housekeeper, also figures in and makes no secret of her contempt for the two lovers and their likely roles in the death of her mistress.

The Late Edwina Black is a well-mounted and throughly engaging romance mystery set in the Victorian times. It's well acted by all and has some fine twists and a good atmosphere.

David Farrar and Geraldine Fitzgerald play the young lovers who are free to marry when Farrar's wife bites the dust, but the late Edwina appears to be still stirring the pot as the lovers become suspicious of each other when the old hag's death is pronounced as murder rather than natural causes. It's a quite tense series of scenes between them, made more effective after all their declaration of love for each other. Of course, the rather droll inspector (Ronald Culver) sets his sights on the couple.

Businessman and inventor Richard Hammond (John Gregson) is determined to develop and market the perfect light-bulb. In a freak lab accident he is blinded and suffers a partial breakdown.

To help him recuperate wife Christiane (Mai Zetterling) flies him off to their luxurious Cornwall retreat where, to ensure is mind isn't overloaded with business concerns, she switches off the phone. Along for the ride are his sponging brother Max (John Ireland), business partner David (Michael Denison), housemaid Janet (Nanette Newman) and chauffeur Clem (Tony Wright).

When things are not what they seem - the cat has suddenly lost its tail, a peach plant has disappeared from the garden, he smells pine, hears church bells - he believes he is going insane. Doesn't take long before he realises this is not a haven, but a trap...

With the music in the opening credits you would be forgiven to think that this is a horror film, but it's just an effective thriller essaying John Gregson's paranoia or correct suspicions as he goes blind - he thinks his wife is trying to kill him, well that's after noticing things. It's a very suspenseful film, and it never lets the cat out of the bag, well not towards the end, and, even then, the revelation is subtle. That little smirk on Zetterling's face was sinister - you will know when you watch this.

There's an excellent performance from John Gregson, who plays the grouchy and driven inventor gone blind - the problem with his character, though, that he's unlikeable, so it's hard to sympathise with him. He's such an arrogant control freak who yells at everyone and this was even when he was blind. The rest of the cast is great - the atmosphere, music and location are solid.

Kelly Sherwood (Lee Remick) works as a bank teller in 1960s San Francisco when she is threatened by a shadowy, asthmatic man (Ross Martin),who demands that she steal $100,000 from her bank.

When the man threatens the lives of Kelly and her sister, FBI Agent John Ripley (Glenn Ford) is put on the case. The investigation sends Ripley on a wild goose chase through the streets of San Francisco, leading to a thrilling climax during a baseball game at Candlestick Park,

Experiment in Terror is certainly terrifying as Lee Remick's character is spun into danger one night by a heavy breathing asthmatic- there's nothing comic pantomime about his villainy. His threats appear real. He's one scary bloke. More so, because we don't see him, and he seems to know Remick's every move and her sisters, too. He certainly has done his research. The scene where he dresses as an old lady is quite creepy.

This thriller is a police procedural, a portrait of a killer, a heist and women in peril rolled into one - there's some real tense moments, even scary ones such as in the mannequin house and the garage where Remick first meets the asthmatic killer. Nice noir like cinematography, the Bay location, loved the cars and fashion - it can be a bit slow paced at times, but I guess it benefits the way the plot takes its time to unravel things. However, it's a bit overlong, but it's a solid thriller, very well acted - Glenn Ford is believable as FBI man, Lee Remick's is excellent and portrays a lady at the end of her tether very well and Ross Martin puts in a creepy performance. Stefanie Powers is cute as ever. Compared to later depictions, the FBI is portrayed in a good light, as good guys, who are efficient and skilful in their jobs.