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Cash On Demand is a neat little thriller set entirely inside a very small bank with a very small cast. Peter Cushing plays a nit-picking bank manager who finds he loses his dry demeanour when he is at the mercy of a bank robber who has taken his family hostage.

The film charts the robber's fiendish plan to calmly loot the bank's safe of all it's money and walk out as though nothing is wrong, while all the time putting the terrified manager through the wringer. Cushing really excels in the role of the bank manager, and Andre Morell makes an excellent slimy criminal who you just want to punch the entire time.

As I said, the whole movie takes place in the one setting, and almost in real time too. It's enjoyable while it lasts, and you'll be wondering what will happen, but despite some attempts at dramatic moments(fumbled locks, an unexpected window cleaner, etc), the final payoff is very disappointing, as the film ends in a really weak, almost feel-good way,which negates the realistically tense 60 minutes that preceded it and gave me very little satisfaction for justice being done. In this way it's almost like William Castle film - he also bungles his endings in a similar way.

Cash On Demand is not very well known, but is worthy of a look if you like Peter Cushing as he definitely makes the film.

Out of Hammer Film Productions, Cash on Demand is directed by Quentin Lawrence and adapted to screenplay by David Chantler & Lewis Greifer from a play by Jacques Gillies. It stars Peter Cushing, Andre Morell, Richard Vernon, Norman Bird and Kevin Stoney. Music is by Wilfred Josephs and photography by Arthur Grant.

Hammer's Xmas movie has a kick and half.

In the opening section of Quentin Tarantino's "Pulp Fiction", robber in waiting Tim Roth tells his lover, Amanda Plummer, about how a guy robbed a bank with just a telephone. This principal is the core of Hammer's majestic "Cash on Demand", an intense, tightly constructed thriller that also provides proof positive of the acting talents of Peter Cushing, Andre Morell & Richard Vernon.

With minimal budget to work from and operating out of practically one set, director Lawrence gets the maximum suspense out of script with no blood letting or overt violence. This is very much about eloquent verbal sparring, the terror is in what might happen should Cushing's (superbly shifting of the acting gears as the plot unfolds) martinet bank manager not tow the slick line being drawn by Morel's (brilliantly playing his cards close to his chest) crafty thief.

A real gem and a pleasant surprise, both in technical merits and outcome of story. Highly recommended to all serious fans of Classic British Cinema. 9/10

Harry Fordyce is an exacting and priggish man, the manager of the City & Colonial Bank. He holds himself to a high standard, and demands the same of his staff. One day, a fellow by the name of Colonel Gore Hepburn arrives, claiming he is an insurance investigator who needs to survey the bank. However, it transpires Hepburn is in fact a cunning thief, who plots to manipulate Fordyce into helping him rob the safe. So begins a tense ordeal for Fordyce, the results of which are as unexpected as they are thrilling, in Quentin Lawrence's 'Cash on Demand.'

Based on 'The Gold Inside,' written by Jacques Gillies and featured on Theatre 70 in 1960, 'Cash on Demand' is a taut thriller that will keep you on the edge of your seat throughout its' run. David T. Chantler and Lewis Greifer's screenplay is terrific, featuring thoroughly believable characters, strong dialogue and much suspense. The initially aloof Fordyce is a particularly well-written creation, the character arc of whom is most understated and realistic. The terrifying journey Hepburn takes him on is one of high anxiety that will change him forever; and one which makes for an exciting experience for the viewer.

The film is produced by Hammer Film Productions, and was clearly a low-budget effort- the few, sparsely decorated sets being the clearest indication of this. However, it's a lovely looking flick nevertheless. Arthur Grant's black and white cinematography is striking, adding to the proceedings an atmosphere of film-noir. Grant primarily worked on horror films, and his work was always assured, stylish and memorable. 'Cash on Demand' may not be what he is best remembered for, but his efforts resulted in a distinct and beautiful looking movie that is a highlight of his filmography all the same.

The film also benefits from an evocative Wilfred Josephs' score, which adds supplementary tension to the already taut goings-on. Often, Hammer films suffered from overblown musical scores that robbed scenes of natural impact and drama. Josephs' is understated and effective in all the right measures. Additionally, editor Eric Boyd-Perkins' work is admirable, keeping the film's pace brisk, but not hectically so.

The late, great Peter Cushing stars as Fordyce, giving a performance of sagacity, vulnerability and depth. The heist situation forces the character to go on a journey of self-discovery, and he plays that out faultlessly. Like his dear friend Christopher Lee, Cushing was often pigeon-holed as "just a horror film actor" (particularly in the 60's and 70's) despite his great range. Though perhaps best remembered nowadays for his role in 'Star Wars' and as Van Helsing- and maybe by a few for his turn as Sherlock Holmes- in 'Cash on Demand' he gives a performance that is nothing less than a masterclass in acting; one which deserves to be lauded and more widely known.

Opposite Cushing stars André Morell as Hepburn, the villain of the piece. Morell also played the role in 'The Gold Inside,' and makes Hepburn a charming rogue that you can't help but feel a certain fondness towards. He and Cushing work together wonderfully, and the supporting cast deliver equally impressive performances- Richard Vernon in particular. Vernon plays Pearson, the head clerk of the bank, and is most natural, performing with an unpretentious ease.

'Cash on Demand' is a suspenseful thriller that borders on the film noir and will surely delight any who watch it. Featuring a fine screenplay and story, the film is unpredictable and tense. Benefitting from two excellent performances from Peter Cushing and André Morell, as well as an atmospheric Wilfred Josephs' score; it's a very memorable experience. It may be a low-budget affair, but 'Cash on Demand' is utterly grand.

When I was a teenager, Peter Cushing was my favorite actor; I simply loved his commanding performances in Hammer Studios' horror films. But when I eventually became more interested in dramas and foreign flicks, my appreciation for both Cushing and Hammer waned. I started to wish that Cushing had taken meatier roles in less lurid movies.

Thankfully, I just had the chance to see "Cash on Demand," a film that stretches Cushing's acting ability farther than most of his horror efforts. It's still a genre film – you could label it a crime/film noir movie – but nevertheless, it's got far more dramatic content and character development than the average Hammer film. Cushing is really superb as the cantankerous bank manager; his character is initially quite unpleasant, but as the plot unfolds he becomes gradually, genuinely more sympathetic.

It would be remiss of me to praise Cushing and forget to mention Andre Morell, who plays the debonair bank robber. His performance is wonderfully smug and, for lack of a better word, cool. The two actors have a great rapport throughout the movie, and together they hold the viewer's attention without the aid of any flashy sets or action sequences.

Clearly a modest movie, made for less money than it takes to film a TV show today, "Cash on Demand" is nevertheless a solid caper flick that deserves the attention of movie fans – particularly those who, like me, are interested in seeing Cushing flex his acting muscles outside the realm of vampires and other forms of animated corpses.

This delightful little low-budget film is one of Hammer's least-known efforts and also one of their best. The story is a reworking of "A Christmas Carol", as Peter Cushing's bank manager, a cold and austere man, and a petty tyrant to his staff, goes through a terrible experience which leads him to change his ways. Cushing is quite superb as the manager and Andre Morell almost as good as the urbane thief who controls events until the denouement. The plot twists and turns and the writing is first-class.