Never Take Sweets from a Stranger (1960)

Never Take Sweets from a Stranger (1960)

Gwen WatfordPatrick AllenFelix AylmerNiall MacGinnis
Cyril Frankel


Never Take Sweets from a Stranger (1960) is a English movie. Cyril Frankel has directed this movie. Gwen Watford,Patrick Allen,Felix Aylmer,Niall MacGinnis are the starring of this movie. It was released in 1960. Never Take Sweets from a Stranger (1960) is considered one of the best Drama,Horror,Mystery,Thriller movie in India and around the world.

Jean Carter, nine-year-old daughter of the town's newly-appointed school principal, Peter Carter and his wife Sally, is playing in the woods with her 11-year-old friend Lucille, when Jean discovers she has lost her purse containing her "candy" money. Lucille tells her she knows where they can get sweets for nothing, and leads her to an imposing mansion, from which the owner, Clarence Olderberry, Sr., a tall, gaunt man of 70 has been watching the girls from a window. That night Jean, unable to sleep, tells her parents that Oldeberry made her and Lucille dance before him nude in exchange for some candy. Carter files a complaint, but the local police chief, Captain Hammond, is skeptical of Jean's story and warns Carter that the Oldenberry family put the town on the map and have far more standing in the community than the new-comer Carters. Oldenberry, Jr. also tells Carter that if he follows up on the complaint he may be certain that Oldenberry's lawyers will show Jean no mercy. In the ...


Never Take Sweets from a Stranger (1960) Reviews

  • Superior Hammer Thriller In a Not so Bloody Vein


    Vastly under-rated (no doubt due to it's lack of release and being regarded as just another Hammer Horror) it is yet another offering from that studio that shows just what crafted film-makers the team from Bray studios actually were. Director Cyril Frankel extracts first-rate performances from the leading performers, with Janina Faye worthy of special mention as the key victim in the saga. Production values are the usual high standard from the Hammer team of the late 50's - Early 60's, Bernard Robinson's production design triumphant transforming Pinewood's Black Park locations into a small Canadian town. Freddie Francis does his sterling filter work yet again, adding menace to the lakeside finale and offering more in monochrome than could have been achieved in colour. Considerably superior to most films that broach the subject matter and (although the copy I have seen is no better than average quality) it is hoped that the upcoming DVD release will restore the widescreen ratio thus allowing us to see it as it was intended.

  • Very suspenseful B-picture


    I saw this on video as "Never Take Candy from a Stranger," under which title it was apparently released in the U.S. It was the one serious film produced by Hammer Films, famous for its Gothic horrors, and I found this much more suspenseful, as well as much better made, than the lot of them. It begins with small tensions of frustration and mild dislike among members of the academic community in a small town and gradually, subtly builds to an atmosphere of dread that catches in the throat. Every character, down to the bit parts, has something of interest to say, and what they say and do, and how their actions combine, lead step by step to the harrowing conclusion. The only fault is the over-simplicity of its social viewpoint, as expressed by the main character and justified by the events of the story, which are by no means unbelievable but not inevitable either. Apart from that, I thought it was a first-class B-picture, a small film in the good sense, compact and economical, with all its resources, human and otherwise, firmly in hand. Also, it has the grey photography that once used to give films of this type the aura they needed: the grey of rain and fog and dusk and uneasy feelings.

  • A more than interesting smaller Hammer flick!


    Never Take Sweets from a Stranger is yet another small scale and less popular Hammer film, but still one that gives the studio's more well respected efforts a run for their money. This film is macabre in a way unlike most other Hammer movies. The frightening things about this film don't come from overly maniacal characters or fantasy monsters - but from a threat that has become more widespread in the past few decades. The main theme here is paedophilia, and it feels odd watching this film as the attitudes expressed towards the hideous act are nothing like they are today. Because paedophilia is more often heard about now, the film isn't quite so frightening - but somehow it feels like it wasn't as frightening back in 1960 as it must have seemed like quite an outlandish idea. The plot follows a couple of young girls. One of them loses her 'candy money' and the other says she knows where they can get some free candy. They go to Mr Olderberry's house, but when the young girl comes home saying that the old man made them take their clothes off and dance for candy - her parents, new in town, decide to take the powerful Olderberry family to court. Aside from showing a real life monster, the film would also appear to want to serve as a warning against immoral lawyers manipulating the truth to get the wealthy off the hook. Director Cyril Frankel seems to want to take a moral stance on these issues, and that's no bad thing. There is a macabre atmosphere in the film, but the bulk of it happens in a courtroom. Hammer may be famous for horror, and this film does feature some towards the end - but on the whole it's more of a courtroom drama than anything else. This isn't a bad thing, however, as the courtroom action is always interesting and this is backed up by an undercurrent of terror as we get to watch a guilty man walk free. The acting is pretty decent, with Janina Faye standing out the most. It's hard to judge the production values as my copy wasn't exactly great, but I doubt that the film was short on budget; and there's nothing in the film that would have been particularly expensive anyway. Overall, Never Take Sweets from a Stranger is a damn good lesser known Hammer flick that boils down to a terrifying and memorable conclusion, and it therefore comes recommended to anyone who enjoys a good thriller!

  • Quite amazing and modern for 1960.


    "Never Take Sweets From a Stranger" is an odd anomaly. What I mean by this is that there aren't a whole lot of films like it back in its day--or even now. It tackles a topic that was never really talked about until recently--and hardly at all back in 1960--at that is the topic of pedophilia. Sadly, because of the American Production Code, such topics were pretty much forbidden for decades and it took the British (Hammer Films) to broach the topic. While the film is not perfect in talking about sexual abuse, it is awfully good considering so little was known about it at the time. I can say this with some confidence, as in my old job (before I went into teaching) was working with victims and perpetrators of sexual abuse--a job that nearly ate me up inside. I appreciate when a film makes a sincere effort to discuss sexual abuse--and "Never Take Sweets" should be commended. The film begins with a little girl being told by her little friend that there is a man nearby who will give them free candy. While nothing is shown and the child doesn't seem shaken up, she later mentions in passing about the old man who paid the two girls to dance around naked for him! Not surprisingly, the parents are concerned--and when they learn the whole story from their child, they are furious and push to have the man prosecuted. Interestingly, however, the old man comes from a VERY powerful local family and the community seems to have little interest in doing anything. To make things worse, the old man's son threatens the family if the prosecute. And, not surprisingly, the case is badly bungled and the old pervert gets away with it. Now this might sound like the entire film--but it's not. What follows is what makes the film so exceptional. The ending and how the film is handled from then on is terrifically handled--and I can't see how they could have made the ending any better--or any more tense and exciting. The bottom line is that this film is brilliantly done for 1960 and holds up well even today. The only negative, and for the time it was quite realistic, is that the sex offender was played a bit too broadly. He simply LOOKED like a dirty old man--and this is usually NOT the case with sexual abuse. But, on the other hand, it clearly shows how sex crimes can progress to even more serious ones if people stand back and allow it to go unpunished. A truly exceptional film--and one that is quite riveting. By the way, I do wonder why the film was set in Canada and the victim's family was British. Why didn't Hammer just set the film in the UK? Just wondering....

  • Found it at last!


    This was one of the most controversial films of its time, I remember vividly the the bad press this movie got,but what we have here is now so relevant to today's society and Hammer should ensure this is restored and put on DVD, I managed to track a copy down from the US where it had been on television, the owner of the disc can be found on a very well known auction site, to my knowledge this has never been shown on British TV. Starring veteran and distinguished theatre actor Aylmer, who does not breath one word in the movie by the way is accused by a young girl of being a child molester and is taken to court by the girl's father Patrick Holt, sadly Aylmer is the town's big-wig and is a much respected professor as well as owning most of the land in the town, the case against him is thrown out due to lack of evidence from the young girl. What follows is a harrowing chase scene involving the same girl and her friend from school both chased through the woods by a psychopathic Aylmer and ultimately leads to death of one of the girls before he is caught. Curiously set in Canada with an uneasy blend of stiff British upper lip and north American accents, talky in parts but stick with it to the end where the final scene's are shattering and every parent's nightmare, this movie should be seen by all.


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