When the director of a successful racing car company is shot dead the other directors have reason to believe their lives are at risk too. Suspect number one is an ex-employee just released ... See full summary »
Shelly needs to catch a killer in order to prove her innocence in her brother's murder. Along the way she meets love, sorrow, and persecution. A journey of self perception as she finally realizes her destiny.
Despite having a major role as Detective Inspector Campbell's (Gordon Jackson) right-hand man, Sergeant Harvey, Sam Kydd is missing from both the opening titles and end credits cast list. See more »
[Miss Halstead takes Campbell and Harvey to the girls' cloakroom where there are rows of pegs, each with a canvas bag hanging from it]
Detective Inspector Campbell:
You take the left row and I'll take the right row.
"And I'll be in Scotland before..."
[Campbell, a Scot, gives Harvey a withering look for this facetious remark]
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DEATH GOES TO SCHOOL is a low rent British murder mystery that provides a neat counterpoint to the more popular hilarity of the ST. TRINIANS movies, which were just taking off during the decade. The production company was the little-known Independent Artists, who knocked out a few quota quickies before moving into TV production in the 1960s. The excellent NIGHT OF THE EAGLE is undoubtedly their best (and well-known) production.
This story is a typical murder mystery with a couple of sleuths in an all-girl school, hot on the trail of a murderer who took down the headmistress by strangulation with a scarf. All they have is a footprint to go on, but they soon uncover a hotbed of hatred and false identity, and they must piece together the clues to discover the one responsible.
The film features a leading role for a youthful Gordon Jackson as the no-nonsense detective and the ubiquitous Sam Kydd (who's uncredited for some reason) as his right hand man. The characterisation is slim, and the denouement is rather unremarkable, but the plot remains focused throughout. The all-girl school setting is a good one that Hammer would later use in the likes of LUST FOR A VAMPIRE in the 1970s. This film was shot at the attractive Merton Park Studios in Wimbledon, later the setting for the obscure Michael Gough horror, THE CORPSE.
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