IMDb > Straight on Till Morning (1972)

Straight on Till Morning (1972) More at IMDbPro »

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Straight on Till Morning -- A love story about an innocent girl thrown into the big city in this murderous trailer


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John Peacock (original screenplay)
View company contact information for Straight on Till Morning on IMDbPro.
Release Date:
August 1974 (USA) See more »
A timid, withdrawn woman meets a man she believes is finally the love of her life, unaware that he is a vicious serial killer. Full summary » | Add synopsis »
User Reviews:
A bizarre combination of social realism and psychological thriller See more (19 total) »


  (in credits order)

Rita Tushingham ... Brenda Thompson

Shane Briant ... Peter Clive

James Bolam ... Joey
Katya Wyeth ... Caroline

Annie Ross ... Liza

Tom Bell ... Jimmy Lindsay

Claire Kelly ... Margo Thompson (as Clare Kelly)
Harold Berens ... Mr. Harris
John Clive ... Newsagent
Tommy Godfrey ... Mr. Godfrey
Mavis Villiers ... Indian Princess
Lola Willard ... Customer
Tinker ... Tinker
rest of cast listed alphabetically:

Paul Brooke ... Uneasy Man (uncredited)

Mike Mungarvan ... Mr. Harris's Client (uncredited)
Guy Standeven ... Man on Park Bench (uncredited)

Directed by
Peter Collinson 
Writing credits
John Peacock (original screenplay)

Produced by
Michael Carreras .... producer
Original Music by
Roland Shaw 
Cinematography by
Brian Probyn (director of photography)
Film Editing by
Alan Pattillo 
Casting by
James Liggat 
Art Direction by
Scott MacGregor 
Makeup Department
George Blackler .... makeup artist
Pearl Tipaldi .... hairdresser
Production Management
Tom Sachs .... production manager
Second Unit Director or Assistant Director
Clive Reed .... assistant director
Michael Murray .... third assistant director (uncredited)
Art Department
Bill Greene .... construction manager
Richard Rambaut .... assistant art director
Sound Department
Alan Bell .... sound editor
Tony Lumkin .... recording director
John Purchese .... sound recordist
Dennis Whitlock .... dubbing recordist
Camera and Electrical Department
Roy Ford .... camera operator
Keith Jones .... camera operator
Keith Blake .... focus puller (uncredited)
K.C. Jones .... camera operator (uncredited)
Costume and Wardrobe Department
Laura Nightingale .... wardrobe supervisor
Music Department
Philip Martell .... musical supervisor
Roland Shaw .... music arranger
Other crew
Nat Cohen .... presenter
Betty Harley .... continuity

Production CompaniesDistributors

Additional Details

Also Known As:
"Dressed for Death" - USA (video title)
"Til Dawn Do Us Part" - USA (video title)
See more »
96 min
Color (Eastmancolor)
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Mono (RCA Sound System)
Norway:16 | UK:18 | UK:X (cut) | USA:R

Did You Know?

First film of Paul Brooke.See more »
Crew or equipment visible: When Peter leads Brenda/'Wendy' into her room for the first time, a crew member is clearly visible, crouching down from the doorway.See more »
Straight On Till MorningSee more »


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8 out of 10 people found the following review useful.
A bizarre combination of social realism and psychological thriller, 23 November 2011
Author: Red-Barracuda from Edinburgh, Scotland, UK

Straight on Till Morning is certainly one of the most atypical films that Hammer Studios ever produced. It begins like a social realist kitchen-sink drama, replete with fragmented snapshot montage editing similar to Ken Loach's Up the Junction – incidentally, a film remade by Peter Collinson the director of this film. And for the first third of the film it seems like this is going to be another such gritty drama, however, it takes an unexpected detour when it suddenly turns into a psychological thriller. It's an extremely unusual combination that isn't entirely successful but definitely interesting. In actual fact it's one of Hammer's more intriguing efforts in my opinion because it's so weird.

The story is about a naive young girl called Brenda who moves to London to try and find a man. She winds up staying with a very strange foppish man called Peter who is in fact a serial killer of women.

The social realism and montage heavy editing is entirely at odds to anything else Hammer ever put out. This is a film that has way more in common with the British New Wave than it does with anything previously produced by the famous studio. None of the characters are particularly likable, with the men in particular very creepy and/or deeply unpleasant people with appalling haircuts. The central relationship between Brenda and Peter is, to put it mildly, bizarre. It's difficult to see what either of them sees in each other; while Peter's strange issues with beauty are a little hard to fathom. Nevertheless, I thought this one was not bad at all. It wasn't predictable in the way that most Hammer films tend to be. It was pretty bleak and overall a commendably uncommercial offering. Definitely worth a look if you like downbeat psychological dramas.

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