Always enjoy the acting of Robert Webber, (Chris Smith),"Twelve Angry Men" who gets himself in a car accident and is unable to remember anything about himself or where he came from. Chris is an American in England and finds himself in a hospital being treated by a British Doctor, named Dr. Keller, (Anthony Newlands). Dr. Keller does everything he can for Chris and informs Chris he has a penthouse to go to and can live there until he gets well with all expenses paid by the person who caused the accident. Chris enjoys his new surroundings, but he has no one to visit him except his nurse who is a good looker and she has fallen in love with Chris, which he is not aware of. The story has many twists and turns and Chris begins to think he is crazy or has lost his mind. Gina McConnell, (Jennifer Jayne) plays the sexy nurse and there is another gal who keeps Chris quite busy. Enjoy.

Hammer studios are best known for their campy horror efforts such as the Frankenstein and Dracula series', but in the mid-sixties they also produced a number of satisfying little thrillers (mostly directed by Freddie Francis) and this film belongs to that side of the studio's output. The film is not as appealing as Francis' earlier Paranoiac, but Hysteria works primarily because of the swinging sixties atmosphere and the mysterious plot, which is played to the maximum and finishes with a great twisted climax. It's amazing that this film was produced by Hammer studios, as it feels much more like a Hitchcockian mystery/film noir than anything else that the studio produced. The plot follows an American who wakes up in an English hospital, unable to recall what has happened to him and how he got there. All we know about the man is that he was involved in a car accident, and he has a mysterious benefactor who's paying all of his hospital bills and has paid for a penthouse suite for him to stay in upon his release. His only real link to his past is a newspaper cut-out of a mysterious French model...It's obvious that this film was an attempt to mimic the successful American mystery movies of the sixties. Robert Webber's suave performance isn't a world away from Cary Grant, while Lelia Goldoni does her best Audrey Hepburn impression, and actually does rather well with it. Hammer films are distinctly English, but despite being set in the home nation; this one feels more like an American film overall. Of course, the lead character's accent helps this greatly. The film may be a disappointment to die-hard Hammer fans who prefer the colourful imagery of their most successful horror films, but Hysteria is good because it shows that the studio have some diversity. Freddie Francis was certainly one of Hammer's most capable directors, and in his hands this story is allowed to show some characterisation and present a good mystery. Hysteria keeps its audience on the edge of their seat throughout, and manages to deliver just the right amount of humour to be funny, without taking anything away from the mystery. The conclusion is well worked and makes sense, and overall; although this isn't a classic Hammer film, it's certainly a very good one!

Hysteria concluded the trilogy of psychological thrillers that Freddie Francis directed for Hammer. The series began with Paranoiac (1963) and Nightmare (1964). The plot concerns an American amnesia victim Chris Smith (Robert Webber), whom is being used as a tool by the ruthless Dr Keller (Anthony Newlands) and his beautiful mistress (Lelia Goldoni). Between them they plan to frame Chris for the murder of Keller's wife, but their clever plan proves to be their own outdoing. In 1965, it was poorly received by critics and the public, but it's a gripping thriller and Freddie Francis directs the somewhat far fetched script by Jimmy Sangster with pace, building it neatly to it's climax. The black and white Cinematography by John Wilcox manages some decent compositions of a gray and dank 1960's London. The only criticism is the somewhat unsuitable music score by Don Banks, which is too jazzy for this type of film.

Those who love the psychological twisters of the sixties will find this one of the best, with its masterful twists and turns of the plot. The question in this film is: Is our hero (played with aplomb by Robert Webber) really going mad, or is someone trying to convince him he's mad? Is he seeing things and hearing voices or is someone playing ghastly tricks on him? If so, for what purpose?The ending leaves no strings untied, which in this case is a feat Hitchcock would be proud of, and in fact, you can see the influence of the Hitchcock films throughout this one. It especially reminds me of "Dial M for Murder". The film does seem very dated by today's standards, but is well worth a screening.