Cash on Demand

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.

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.

Well written and tight little film with a fine performance from Peter Cushing and an even better one from Andre Morell. The former plays a Scrooge like, petty minded Bank Manager (very reminiscent of many that I encountered in my banking career!) and the latter the smooth talking and rather endearing robber. It is snowing outside and by the door is a Santa ringing his bell. With the mean natured manager, the gentleman thief and the allusions to Christmas, it is clear the shadow of Dickens hovers. As well as the crisp and effective dialogue there are just enough little incidents to maintain a certain level of tension and keep this afloat despite the absence of any sensational moments. Clever and measured with excellent performances from all the support actors, this just lacks a bit of spark.

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

A by-the-books bank manager is forced to rob his own bank by a charming thief who holds his family hostage.

Peter Cushing and Andre Morrell repeat the solid on screen chemistry they displayed three years earlier when they teamed up as Sherlock Holmes and Dr. Watson in Hammer's version of The Hound of the Baskervilles (1959). This time they are antagonists with Morrell playing the suave robber and Cushing - in a change of pace role - as the ultra priggish banker. Morrell is deliciously nasty but Cushing really deserves some acting kudos for creating a "jerk" of a character that you actually start to sympathize with as Morrell turns the screws.

Quentin Lawrence, a veteran of British TV, skillfully directs a tight script in a confined setting and keeps the tension high and story moving - almost like it's unfolding in real time. Once the normal routines and relationships are quickly established, he ratchets up the tension with Morrell's arrival and never lets up. The psychological duel begins and it's a treat to watch.

My only nitpick about the film is the ending which I thought was a little too neat and tidy for my taste.