Fright comes from producers Harry Fine and Michael Style who had made Hammers Karnstein trilogy The Vampire Lovers (1970), Lust for a Vampire (1971) and Twins of Evil (1972) around the same time. Peter Collinson was a minor British director of the 1960s and 70s, probably best known for the original The Italian Job (1969). Collinson delved into the psycho-thriller a handful of times during the 1970s with Hammers Straight on Till Morning (1972), the Agatha Christie murder mystery And Then There Were None (1974) and the remake of The Spiral Staircase (1975).
The script was from Tudor Gates who wrote Fine and Styles Karnstein films, as well as co-wrote the classic Barbarella (1968). Gates and Collinson pass through a good many plot elements that would become cliches of the slasher genre a decade later the babysitter alone in the house; the jerk boyfriend playing pranks and/or pestering the heroine for sex; the friendly neighbour/visitor who may not be what they seem; the phone cords found cut. Today these are standard cliches of the genre but back then had not set into an established routine.
Peter Collinson does a fine job in drawing the material out tautly and generates a considerable degree of atmosphere throughout. Collinson does some fine initial scene setting with Susan George alone in the house with figures glimpsed creeping around outside and ordinary noises taking on scary overtones. The siege climax is particularly well sustained with Collinson and Gates propelling it through a constant series of twists and turns. The central role of the babysitter is perfectly cast with the lovely and sympathetic Susan George.
There is one particularly good scene that Peter Collinson creates, albeit undeniably inspired by similar scenes in Repulsion (1965), where the deranged Ian Bannen advances on and dances and then has sex with Susan George. Collinson shows the scene from alternating viewpoints one from Ian Bannens point-of-view where he thinks he is dancing with wife Honor Blackman and then back to the frightened Susan Georges perspective where he is dancing with her. As they have sex, we see alternately from his point-of-view that he is with Honor Blackman who is laughing and inviting him on, and then back to Susan Georges point-of-view where she is screaming. As in Repulsion, the only sound through most of the scene is Susan Georges breathing.