malcolmgsw I know that other reviewers have complained at the derivative story line.However if you are looking for originality this is not the series to be viewing.Anyway sitting in the 4/- seats at the local ABC you didn't really concern yourself with such trivialities.There is a good cast,with a particularly welcome cameo by William Hartnell.The story may be convoluted but it's ending is worth waiting for.

Leofwine_draca TO HAVE AND TO HOLD is another middling B-flick thriller that was released in America as part of the EDGAR WALLACE series. This one boasts three interesting acting talents and a script ghostwritten by Jimmy Sangster (moonlighting away from Hammer) but is otherwise quite convoluted and needlessly around-the-houses. The thrills are tepid and the plot appears to have been borrowed from big Hitchcock thrillers like VERTIGO. Cast-wise, the leading actor is none other than Ray Barrett, doing his best with what he's given; supporting him are Nigel Stock in a sinister part and the great William Hartnell as Barrett's bullish superior.

JohnHowardReid The British "Edgar Wallace" series reversed the usual trend of series films in that the entries actually got better rather than worse, as the series progressed. In its last days, it was very good indeed. This entry, based on the novel, The Breaking Point, was the second last and I'd give it the comparatively high rating of 74%. It was distinguished by highly competent acting led by Ray Barrett (a much under-rated actor who should have enjoyed a far better career. In fact, he was all set to play Merryll Manning in "Merryl Manning On the Rim of Heaven" when the movie was abandoned just a few days before it was to go into production on location in Tenterfield, New South Wales). "To Have and To Hold" also has an interesting script, crisp location photography, fairly imaginative direction by Herbert Wise, and remarkably inventive film editing by Derek Holding. Casting director: Ronald Curtis. Make-up: Stella Morris. Music: Bernard Ebbinghouse. Title music: Michael Carr. Assistant director: Ted Lewis. Costumes designed by Eileen Welch. Set continuity: Marjorie Owens. Sound editor: Brian Blamey. Production manager: Ron Fry. Sound recording: Sidney Rider. I know that Gladys Locking was also in the movie's production team, but I'm not sure in what capacity.

GUENOT PHILIPPE This would be an excellent idea for a so little B picture, if it would not copy so much a classic that every movie buff knows. See for yourself. A young woman is harassed by a man and asks for help to the police. An inspector is in charge of the affair, goes to investigate to the woman's apartment and, of course, falls in love with her. In first, we think of Otto Preminger's LAURA, especially when the gal is murdered after the first half of the feature. And our lead cop keeps on his investigation and meets - guess who? - the twin sister of the deceased...As you may guess, he is in total confusion...Yes folks, the screenwriters have watched VERTIGO before. A blind audience could say so. But, let's be fair, the end of the story, at least the second part, is a bit different if you compare with the Hitchcoch's masterpiece.You can watch it although, a good time waster. But you have already seen this before. That's all.