Cash On Demand is a charming departure from the Mid-European gothic locale for which Hammer were best known. It appeared at a time when producer Michael Carreras was having some success in steering Hammer towards a more diverse range of films and the intention to differentiate this from the popular conception of Hammer is signified by the decision to shoot in black and white. The monochrome cinematography of Arthur Grant is crisp and concise and affords the film a sense of style and atmosphere very different to the gothic horrors - and the tone of the picture also separates it from the psychological thrillers to which Hammer would give greater attention as the 1960’s progressed. The film marked a return for Hammer to the tactic of adapting a television success - in this case a 1960 episode of Theatre 70 written by Jacques Gillies. With some wisdom Hammer chose to retain Andre Morell from the television show, and in a piece of casting genius pitted him against Peter Cushing.
The production design by Bernard Robinson is of particular note. The film is entirely studio bound and the bank setting is well evoked. Fordyce’s office is spacious and uncluttered offering a reflection of the man himself. If there is one criticism of Cash On Demand then it lies in the rather static means of its cinematic expression. This aspect of the adaptation from television to cinema comes across strongly and very few of the cinematic devices utilised in the production of the film add to the overall effect. This is all about performance, delivery, and dialogue. The direction by Quentin Lawrence, who would later go on to direct The Secret of Blood Island (1964) for Hammer is unfussy and efficient which is a perfect for a film devoid of the spectacle most commonly associated with Hammer. Cash On Demand is a delight and is very worthy of the esteem it is now held in and proved yet again that Hammer’s bow had many strings.