This resembles an episode of 'The Saint' rather than a conventional Hammer Horror. Exotically located in France, the regulars in front and behind the camera are all conspicuous by their absence.
With the possible exception of the maniac's daughter none of the cast appears to be bona fide French people (Norman Bird is obviously dubbed as a gendarme and the title role - who employs an acetylene torch rather than a stake - is played by one of the British cinema's most famous Welshmen).
The saxophone and bongo score by Philip Green is suitably trashy, Nadia Gray cuts an impressive figure in jodhpurs and boots while wielding a riding crop as the treacherous wife who husband has been in an asylum for four years, and the caves at Les Baux-de-Provence provide a dramatic backdrop for the finale.
With the possible exception of the maniac's daughter none of the cast appears to be bona fide French people (Norman Bird is obviously dubbed as a gendarme and the title role - who employs an acetylene torch rather than a stake - is played by one of the British cinema's most famous Welshmen).
The saxophone and bongo score by Philip Green is suitably trashy, Nadia Gray cuts an impressive figure in jodhpurs and boots while wielding a riding crop as the treacherous wife who husband has been in an asylum for four years, and the caves at Les Baux-de-Provence provide a dramatic backdrop for the finale.