When an actress is credited simply as "child" during the introduction to a film, you get the feeling nothing good is about to happen. Bryan Forbes, who wrote and directed Seance On A Wet Afternoon, doesn't go as far as the author of the novel, but this is nevertheless a chilling film.

Myra Savage, played superbly by Kim Stanley, is a medium who hatches a plot to kidnap a child and use her powers to help find it, in order to achieve fame. Her decent, dependable husband, Billy (Richard Attenborough), is a reluctant accomplice.

The film is a perfect vehicle for Stanley and Attenborough's talents. Her deluded, domineering psychic is both terrifying and tragic, while he makes Billy's internal pain, as his conscience and love draw him in different directions, almost palpable. The two leads are ably supported by a distinguished cast of British character actors, with Judith Donner giving a very natural performance as the kidnapped child.

The plot is tense and taut and the cinematography keeps the feeling of suspense brilliantly, although the exterior shots have not aged well. John Barry's score, one of his earliest for a major film, is extremely effective at adding to the tension, although at times becomes overbearing.

Seance On A Wet Afternoon is a classic of the psychological thriller genre and deserves its place. With restraint and precision it delves deep into the psyche of its main characters.