Welcome to Six Damn Fine Degrees. These instalments will be inspired by the idea of six degrees of separation in the loosest sense. The only rule: it connects – in some way – to the previous instalment. So come join us on our weekly foray into interconnectedness!

Waves crash against anonymous moonlit rocks while the credits promise an eclectic mix of British and international talent: it’s Hayley Mills and Hywell Bennet (fresh off 1968‘s Twisted Nerve), Swedish actor/director Per Oscarsson (from 1966’s Hunger) and fellow countrywoman Britt Ekland (between her Peter Sellers and Rod Stewart relationships and soon to be Bond Girl). There’s eternal Miss Moneypenny Lois Maxwell and All About Eve‘s George Sanders, and it’s directed by Sidney Gilliat (author/producer of Hitchcock’s early British films) and, unmistakeably, scored by Bernard Herrmann – its ondulating, dramatic main theme reminiscent of the perturbing romanticism of Vertigo and The Ghost and Mrs. Muir. Have I gone to cinematic heaven? How could I have missed a film like this one, the 1972 adaptation of Agatha Christie’s late novel Endless Night?!