Endless Night (Original title)Agatha Christie's Endless Night (Alternative title)
Dates: 1972 (Copyright), 22 October 1972 (Release)Country: United KingdomDirected by: Sidney Gilliat
Synopsis: Thriller. The marriage of an American heiress to a poor English man finds itself under strain when her friend Greta gets in the way. Sacked from a chauffeuring job, a young working class man, Michael, goes for a countryside wander round Gipsy’s Acre, a site on England's south coast where he longs to build his dream house. There he meets a young American lady, Ellie, and they form an attachment. A few weeks later, Michael's pride is wounded when he learns that Ellie is in fact a very wealthy heiress, and, to make matters worse, she has bought him the plot of land to build his house on. Defying her family's wishes, they get married, build their very modern dream house and, the odd mysterious incident aside (like a rock thrown at their french windows), they seem contented. Then a wedge is driven between them by the bustling about of Ellie's best friend Greta, whom Michael finds a busybody. A tragedy soon occurs, with a shocking truth behind it.
Genre: Thriller
Subjects: Marriage, Homicide, Wealth, Social status
Releases
Date: September 1972Country: United KingdomRelease type: unknownFormat: 35mm Film - Colour - Eastmancolor - Sound - MonoRuntime: 99 mins Length: 8930 FeetDialogue (original): English
Title: 'Another, more sinister reality': class, youth and psychopathology from Saturday Night and Sunday Morning to Endless NightAuthor: Jancovich, MarkArticle type: ArticleLanguage: English
Description: Considers critical responses to a cycle of British films with working-class protagonists which were produced between 1959 and 1972, linking them to contemporary concerns over growing affluence and the consequent erosion of class distinctions. Highlights reviewers' focus on the psychopathology of the films' protagonists, and draws parallels between 1960s working-class realism and the horror film.
In: Films and Filming v19 n4 January 1973 Page: 51
Title: [Films and Filming - v19 n4 January 1973: no known title]Language: English
In: Monthly Film Bulletin v39 n465 October 1972 Page: 209
Title: [Monthly Film Bulletin - v39 n465 October 1972: no known title]Language: English
In: Cinema TV Today n9997 9 Sep 1972 Page: 21
Title: [Cinema TV Today - n9997 9 Sep 1972: no known title]Language: English
In: Today's Cinema n9912 8 Jun 1971 Page: 4
Title: [Today's Cinema - n9912 8 Jun 1971: no known title]Article type: CreditsLanguage: English
Description: Credits.
In: Kine Weekly n3336 18 Sep 1971 Page: 10
Title: [Kine Weekly - n3336 18 Sep 1971: no known title]Language: English
Dates: 1972 (Copyright), 22 October 1972 (Release)Country: United KingdomDirected by: Sidney Gilliat
Synopsis: Thriller. The marriage of an American heiress to a poor English man finds itself under strain when her friend Greta gets in the way. Sacked from a chauffeuring job, a young working class man, Michael, goes for a countryside wander round Gipsy’s Acre, a site on England's south coast where he longs to build his dream house. There he meets a young American lady, Ellie, and they form an attachment. A few weeks later, Michael's pride is wounded when he learns that Ellie is in fact a very wealthy heiress, and, to make matters worse, she has bought him the plot of land to build his house on. Defying her family's wishes, they get married, build their very modern dream house and, the odd mysterious incident aside (like a rock thrown at their french windows), they seem contented. Then a wedge is driven between them by the bustling about of Ellie's best friend Greta, whom Michael finds a busybody. A tragedy soon occurs, with a shocking truth behind it.
Genre: Thriller
Subjects: Marriage, Homicide, Wealth, Social status
Releases
Date: September 1972Country: United KingdomRelease type: unknownFormat: 35mm Film - Colour - Eastmancolor - Sound - MonoRuntime: 99 mins Length: 8930 FeetDialogue (original): English
Credits
(33)
©: National Film Trustee Company Limited, Production Company: Frank Launder, Sidney Gilliat, Made in association with: British Lion Films Limited, EMI Film Productions Limited, Produced by: Leslie Gilliat, Production Supervisor: Roy Parkinson, Location Manager: Bruce Sharman, Assistant Director: Douglas Hermes, Continuity: Kay Rawlings, Casting: Thelma Graves, Screenplay by: Sidney Gilliat, Based on the novel by: Agatha Christie, Director of Photography: Harry Waxman, Additional Photography: Ronald Maasz, Camera Operator: Gerry Anstiss, Film Editor: Thelma Connell, Production Designer: Wilfrid Shingleton, Art Director: Fred Carter, Scenic Artist: Peter Wood, Construction Manager: Bill Waldron, Costume Designer: John Furniss, Wardrobe Supervisor: Barbara Gillett, Make-up: John O'Gorman, Make-up: Alan Brownie, Hairdressing: Allan McKeown, Music by: Bernard Herrmann, Moog Synthesizer Played by: Howard Blake, Sound Recordist: Paul Le Mare, Bill Rowe, Sound Editor: Charles Crafford, Produced at: EMI-MGM Elstree Studios
Cast
(21)
Hayley Mills (Fenella Thompson. 'Ellie'), Hywel Bennett (Michael Rogers), Britt Ekland (Greta), George Sanders (Andrew Lippincott), Per Oscarsson (Santonix), Aubrey Richards (Dr George Philpott), Peter Bowles (Reuben), Lois Maxwell (Cora), Madge Ryan (Michael's mother), David Bauer (Uncle Frank), Helen Horton (Aunt Beth), Walter Gotell (Constantine), Geoffrey Chater (coroner), David Healy (Jason), Windsor Davies (Sgt Keene), Patience Collier (Miss Townsend), Ann Way (Dorothy Philpott), Robert Keegan (innkeeper), Robert O'Neil (broker), Mischa De La Motte (Maynard), Leo Genn (psychiatrist)
Articles held in BFI Reuben Library
(6)
In: Journal of British cinema and television v16 n2 2019 Pages: 213-232Title: 'Another, more sinister reality': class, youth and psychopathology from Saturday Night and Sunday Morning to Endless NightAuthor: Jancovich, MarkArticle type: ArticleLanguage: English
Description: Considers critical responses to a cycle of British films with working-class protagonists which were produced between 1959 and 1972, linking them to contemporary concerns over growing affluence and the consequent erosion of class distinctions. Highlights reviewers' focus on the psychopathology of the films' protagonists, and draws parallels between 1960s working-class realism and the horror film.
In: Films and Filming v19 n4 January 1973 Page: 51
Title: [Films and Filming - v19 n4 January 1973: no known title]Language: English
In: Monthly Film Bulletin v39 n465 October 1972 Page: 209
Title: [Monthly Film Bulletin - v39 n465 October 1972: no known title]Language: English
In: Cinema TV Today n9997 9 Sep 1972 Page: 21
Title: [Cinema TV Today - n9997 9 Sep 1972: no known title]Language: English
In: Today's Cinema n9912 8 Jun 1971 Page: 4
Title: [Today's Cinema - n9912 8 Jun 1971: no known title]Article type: CreditsLanguage: English
Description: Credits.
In: Kine Weekly n3336 18 Sep 1971 Page: 10
Title: [Kine Weekly - n3336 18 Sep 1971: no known title]Language: English