Tue 7 Sep 2021
A Hammer Film Review by David Friend: THE SNORKEL (1958).
Posted by Steve under Mystery movies , Reviews[8] Comments
THE SNORKEL. Hammer Films, 1958. Peter Van Eyck, Betta St.John, Mandy Miller, Gregoire Aslan, William Franklyn. Directed by Guy Green.
Several years ago, Candace ‘Candy’ Brown (Mandy Miller) saw her father drown and has always believed that Paul Decker (Peter van Eyck) was responsible. Now Candy is a teenager, Decker is her stepfather, and her mother has apparently gassed herself to death in their Italian villa.
Candy is convinced that Decker killed her too. For one thing, there was no suicide note. Both the local police inspector (Grégoire Aslan) and British Consulate Mr Wilson (William Franklyn) believe the death was self-inflicted as the door was locked and the windows were sealed. Even her friend and nanny Jean Edwards (Betta St. John) thinks Candy is delusional.
Unbeknownst to them, Decker is indeed the murderer and let in the gas himself before escaping through a trap door and hiding beneath the floorboards, where he donned a snorkel to prevent his own death from asphyxiation.
Candy openly accuses him of murder, but Decker presents his passport as proof that he was across the border in France and was therefore not in the country at the time of her mother’s death.
Undeterred, Candy investigates and soon figures out that a snorkel was somehow involved. Decker, meanwhile, becomes romantically interested in Jean and slyly suggests they have Candy committed to an American asylum while they start a new life together. However, as she moves closer to the truth, Decker decides more drastic action is necessary. He has the means, after all…
The Snorkel is a thriller from Hammer, one of several they made which now cower in the tall, distinctive shadows of Frankenstein and Dracula. These play like Hitchcock on a lower budget and several came from the pen of Jimmy Sangster, who wrote many of their most iconic films and as such remains at least partly responsible for the company’s iconic cult status across the decades.
The story for this one was dreamed up by actor Anthony Dawson (remembered for his superb performances in Dial M for Murder, Midnight Lace, Dr No, and an episode of The Saint), and though the murder method may lack the ingenuity of other locked room mysteries, it looks less unlikely when offered up first. An explanation at the end of the film may have seemed like a slight cheat.
While Sangster’s later Taste of Fear would imperil a paraplegic, he focuses The Snorkel on another vulnerable female in teenager Candy, played by the slightly too old child actor Mandy Miller. This gives the film a faint Nancy Drew feel, though Candy has few deductions and no clues, while most of the developments are due to coincidence and an unshakeable conviction that Decker is the murderer.
The detective work is limited to a furtive search of a hotel room before being dropped altogether and replaced with brassy confrontations and sullen assertions, while an inspection of the villa at night is simply there to generate some spooky atmosphere and slyly set up the finale.
German actor Peter van Eyck (best known to English-language audiences for his appearance in Richard Burton-starring The Spy Who Came in from the Cold) acquits himself well as Decker, suave and serenely disappointed at one moment and blank-eyed and sinister in the next. He looks like a cross between Derren Nesbit and Jack Cassidy, which is fitting as this is basically an episode of Columbo (in the first few minutes, as he commits the murder, you expect to see the thick, yellow credits of that ’70s classic).
The Snorkel doesn’t, however, offer a slyly formidable opponent, and wastes William Franklyn, potentially a perfect fit, in a negligible role. Really, though, it’s not that type of thriller in the first place, and Decker isn’t caught through any mistake of his own. This is an atmospheric, psychological thriller of the ‘damsel in distress’ variety, not a detective story.
Though low-key, it features some excellent location work on the Italian Riviera, a tense climax that also teases something ruthlessly cold-hearted, all sewn up in a brisk, undemanding 74 minutes.
Rating: ***
September 7th, 2021 at 9:08 pm
I admit to liking this much more than it really deserves. It does what it does professionally, looks good, and isn’t too dumb or unlikely to spoil it.
There were a number of films in this era of young girls, younger teens and children, in danger. I don’t know quite why, but it is almost a sub genre of the suspense film edging over a bit into horror in this era.
September 7th, 2021 at 11:14 pm
I’m very glad to peruse this review. Recalls nice memories. I’ve never thought too much about the actor who (I now learn is Peter Van Eyck) portrayed the infamous Hans-Dieter Mundt in the superb Martin Ritt adaptation of the equally superb John LeCarre’ “Spy Who Came in from the Cold”.
I’ve always simply accepted his astute casting and icy performance in that pivotal narrative. Who could forget Hans-Dieter Mundt? Mundt was London’s man!
“Mundt is London’s man!”, Josef Fiedler (Oskar Werner) nearly screams during the harrowing trial of poor Alec Leamas, (Richard Burton) while Mundt sits impassively in the defendant’s chair.
I’m surprised to hear of his bit-parts in so many other titles. I’ve seen him in all of those outings but never recognized him.
So I’ve learned something new. My gratitude.
On a lighter note: this film could be well-aired as a double-feature with Richard Widmark’s “The Frogman”?
September 8th, 2021 at 6:53 am
I generally have the same reaction David did to Those Hammer thrillers. They’re generally well-done and interestingly cast, and the writing is always above adequate.
September 8th, 2021 at 1:53 pm
Peter Van Eyck also had significant roles in The Wages of Fear and one of the Dr. Mabuse movies.
September 8th, 2021 at 3:43 pm
Peter played multiple supporting parts, but not bits.
September 9th, 2021 at 8:26 am
I’d be interested in hearing any suggestions for similar films. The young-person-in-danger idea is an excellent one as such characters are made vulnerable as they are so often dismissed by the older characters as unreliable and immature.
‘Disturbia’, from 2007, is a terrific example of this (particularly as the teenage protagonist is already in trouble with the police). ‘When a Stranger Calls’ (even the remake) is another good one, though I wasn’t keen on ‘Shadow of a Doubt’ for some reason.
September 9th, 2021 at 3:47 pm
I’m sure it’s good film, one worth watching, but personally I think THE SNORKEL is a dumb name for a movie.
September 9th, 2021 at 7:01 pm
Agreed.