An American wakes up in an English hospital unable to remember anything of his life before a recent car accident. With only a photograph torn from a newspaper to guide him, and an unknown ...
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Title: Hysteria (1965)
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Cast
| Complete credited cast: | |||
| Robert Webber | ... |
Chris Smith
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Anthony Newlands | ... |
Dr. Keller
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Jennifer Jayne | ... |
Gina McConnell
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Maurice Denham | ... |
Hemmings
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Lelia Goldoni | ... |
Denise James
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Peter Woodthorpe | ... |
Marcus Allan
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Sandra Boize | ... |
English Girl
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| Sue Lloyd | ... |
French Girl
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John Arnatt | ... |
Mr. James
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Marianne Stone | ... |
Marcus Allan's Secretary - Miss Grogan
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Irene Richmond | ... |
Mrs. Keller
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Kiwi Kingston | ... |
French Girl's Husband
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Plot Summary
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Storyline
An American wakes up in an English hospital unable to remember anything of his life before a recent car accident. With only a photograph torn from a newspaper to guide him, and an unknown benefactor, he attempts to unravel what looks increasingly like a bizarre murder. Written by Anonymous
Taglines:
TERRIFYING SUSPENSE ...it will shock you out of your seat!Certificate:
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Details
Country:
UKRelease Date:
April 1965 (USA) See more »Also Known As:
Histeria See more »Filming Locations:
MGM British Studios, Borehamwood, Hertfordshire, England, UKCompany Credits
Show detailed
company contact information
on
IMDbPro »
Technical Specs
Runtime:
Sound Mix:
Mono (Westrex Recording System)Color:
Black and WhiteAspect Ratio:
1.85 : 1
Edit
Hysteria concluded the trilogy of psychological thrillers that Freddie Francis directed for Hammer. The series began with Paranoiac (1963) and Nightmare (1964). The plot concerns an American amnesia victim Chris Smith (Robert Webber), whom is being used as a tool by the ruthless Dr Keller (Anthony Newlands) and his beautiful mistress (Lelia Goldoni). Between them they plan to frame Chris for the murder of Keller's wife, but their clever plan proves to be their own outdoing. In 1965, it was poorly received by critics and the public, but it's a gripping thriller and Freddie Francis directs the somewhat far fetched script by Jimmy Sangster with pace, building it neatly to it's climax. The black and white Cinematography by John Wilcox manages some decent compositions of a gray and dank 1960's London. The only criticism is the somewhat unsuitable music score by Don Banks, which is too jazzy for this type of film.