Evil Under the Sun

Tags

1980's, Agatha Christie, Colin Blakely, Denis Quilley, Diana Rigg, Emily Hone, Evil Under the Sun, Guy Hamilton, James Mason, Jane Birkin, Maggie Smith, Murder Mystery, Nicholas Clay, Peter Ustinov, Roddy McDowall, Sylvia Miles

Film Title

Evil Under the Sun

Director

Guy Hamilton

Starring

• Peter Ustinov as Hercule Poirot
• Jane Birkin as Christine Redfern
• Nicholas Clay as Patrick Redfern
• Maggie Smith as Daphne Castle
• Roddy McDowall as Rex Brewster
• James Mason as Odell Gardener
• Sylvia Miles as Myra Gardener
• Denis Quilley as Kenneth Marshall
• Colin Blakely as Sir Horace Blatt
• Diana Rigg as Arlena Marshall
• Emily Hone as Linda Marshall

Based on the 1941 book by Agatha Christie, Evil Under the Sun may not be up there with Murder on the Orient Express and Death on the Nile as a spectacular rendering of a classic murder mystery, but it does have its charms along the way thanks to a game cast.

The world-renowned Belgian sleuth Hercule Poirot is contacted by one Sir Horace Blatt, an industrialist in need of his expertise. He concludes that a diamond in the man’s possession is in fact a fake, Blatt believes that his one time mistress Arlena has the real one that could be worth a huge fortune. Poirot agrees to look into the case and travels to an exclusive island resort in the Adriatic, owned by the acerbic Daphne Castle. Arlena is staying at the resort along with her new husband Kenneth and stepdaughter Linda, who she constantly belittles and berates. Also present is Patrick Redfern, a dashing young man with a roving eye, his meek and mousy wife Christine, bickering theatre managers Odell and Myra Gardener, gossip hound Rex Brewster and eventually Sir Horace Blatt himself. Arlena is a stage actress who has a habit of rubbing people up the wrong way with her bitchy behaviour and diva antics. Although married to Kenneth, she rather publicly begins an affair with the handsome Patrick. Everyone at the resort has some bone to pick with the obnoxious Arlena in one way or another. It is no surprise then to the very observant Poirot that the much hated diva eventually turns up strangled to death on one of the island’s beaches. With an array of suspects who by their own admissions had every reason to kill her, Poirot must deduce who the murderer is among them in order to solve the crime.

If Murder on the Orient Express was the classy and stately affair, and Death on the Nile was the exotic murder mystery, that makes Evil Under the Sun the lighter souffle of the bunch. Whereas the other two Poirot movies succeeded with intrigue, this one sadly falls a little flat in the thrilling mystery department. That isn’t to say it’s bad in any way, just not as memorable as the ones that came before it. Guy Hamilton has a decent go at directing this and the picture does benefit from a certain humorous edge, but after a while it becomes a bit repetitive. The island location is beautifully rendered and bathed in sun-kissed glory. The costume design is absolutely outrageous, with colours here, there and everywhere. The Cole Porter influenced score adds that dash of excitement, but other ventures in the musical department overdo the tropical setting.

What doesn’t falter in Evil Under the Sun is most of the talented cast assembled for it. Peter Ustinov, returning to the role, brings wise and eccentric charm to the part of Poirot. He is clearly having fun with the part, but brings an amount of gravity to it so it doesn’t slip into ridiculousness. Jane Birkin exudes scared vulnerability and weak-willed manners as the wronged wife Christine, who watches as her husband openly has an affair with the bitchy Arlena. Nicholas Clay is excellently virile as the muscled Adonis, most of the time seen in the most revealing pair of speedos known to man, whose dalliance with Arlena may have led to her death. Maggie Smith is an utter delight as the cynical hotel owner Daphne, whose sarcastic barbs and witty tongue make her a joy to watch. Roddy McDowall is a hoot as the gossip hungry journalist trying to unearth scandal, while James Mason and Sylvia Miles are wonderful as the constantly arguing couple. Denis Quilley, while slightly underused on occasion, is good enough as Arlena’s put-upon husband. Meanwhile, Colin Blakely injects garrulous humour to the part of Sir Horace Blatt. As the diva who eventually turns up dead, Diana Rigg has an utter blast portraying the glamorous but shallow and cutting bitch. Emily Hone is suitably angry and increasingly resentful as her stepdaughter.

So all in all, Evil Under the Sun isn’t the best adaptation of an Agatha Christie novel to hit the screen. But it has its positives that make it good entertainment for a matinee screening.

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Murder on the Orient Express

Tags

1970's, Agatha Christie, Albert Finney, Anthony Perkins, Colin Blakely, Denis Quilley, Ingrid Bergman, Jacqueline Bisset, Jean-Pierre Cassel, John Gielgud, Lauren Bacall, Martin Balsam, Michael York, Murder Mystery, Murder on the Orient Express, Rachel Roberts, Richard Widmark, Sean Connery, Sidney Lumet, Vanessa Redgrave, Wendy Hiller

Film Title

Murder on the Orient Express

Director

Sidney Lumet

Cast

• Albert Finney as Hercule Poirot
• Lauren Bacall as Mrs. Hubbard
• Martin Balsam as Bianchi
• Ingrid Bergman as Greta Ohlsson
• Jacqueline Bisset as Countess Andrenyi
• Michael York as Count Andrenyi
• Jean-Pierre Cassel as Pierre Michel
• Sean Connery as Colonel Arbuthnott
• John Gielgud as Beddoes
• Wendy Hiller as Princess Dragomiroff
• Anthony Perkins as Hector McQueen
• Vanessa Redgrave as Mary Debenham
• Rachel Roberts as Hildegarde Schmidt
• Richard Widmark as Ratchett
• Denis Quilley as Antonio Foscarelli
• Colin Blakely as Hardman

Surely one of the best adaptations of an Agatha Christie novel, Murder on the Orient Express is a splendid, stylish and sensational murder mystery boasting what has to be one of the most star-studded casts ever assembled on film. Elegantly directed by Sidney Lumet and with a sumptuous recreation of the elite of the 30’s in costume and decor, Murder on the Orient Express is not to be missed for fans of movies that are often referred to as ‘films they just don’t just make like this anymore’.

Hercule Poirot, the famous Belgian detective is travelling aboard the eponymous train from Istanbul to Paris, then he will travel to England to attend important business. The train is unusually crowded but the eccentric Poirot has managed to find a cabin by way of his friend Bianchi, who is also travelling on the same journey. Poirot is approached by a secretive businessman named Ratchett, who offers him a large sum of money if he can find out who has been sending him threatening letters. The detective has no interest in the case and turns it down. The next morning, Ratchett is found dead, stabbed a dozen times in his bed. It is then up to Poirot to investigate the case as the train has been caught in a snow drift somewhere in the Balkan Regions on the night of the murder. He is surrounded by a rich array of suspects including; the loquacious and obnoxious Mrs. Hubbard, the simple-minded Swedish missionary Greta Ohlsson, the icy and glamorous Count and Countess Andrenyi, the quiet conductor on the train Pierre Michel, Colonel Arbuthnott, an officer in the British Indian Army, the buttoned up valet of the deceased, Beddoes, the ageing Russian royal Princess Dragomiroff, Hildegarde Schmidt, her personal maid, Hector McQueen, the secretary to the deceased, Mary Debenham, a teacher and paramour of Colonel Arbuthnott, Foscarelli, an Italian-American car salesman and Hardman, a secretive agent for a detective service. As he investigates, Poirot deduces that Ratchett was really a gangster, who played his part in the notorious kidnapping and murder of Daisy Armstrong, a prominent aviator’s daughter, many years before. Through interrogation and the exercise of his ‘little grey cells’ Poirot tries to figure out this bizarre case filled with secrecy and enshrouded with shocks and red herrings. So sit back and enjoy as the detective makes his way through the case in which nothing is as it seems.

Sidney Lumet keeps the atmosphere of the time and gradual deducing of the crime through employing a brisk pace to the film and making exceptional use of the camera. Nowhere is this more apparent than in Poirot’s excellent denouement in which he paces up and down the carriage and recounts his findings. The way the camera captures the faces of the guests, filled with anxiety, astonishment and shock as they silently listen, is quite masterful as the complex case is laid bare in front of them. The opening sequence in which the history of the Armstrong Case is shown whilst intercut with newspapers clippings, is another highlight of lighting and atmosphere, getting the film off to a suspenseful and haunting start. The magnificent score exudes suspense and glamour and is a great attribute to the film.

The star-studded cast is almost certainly the biggest draw in the film, even if some actors are underused in the process.  Albert Finney is particularly eccentric and witty as Poirot, stealing the show as he delves into one of the most complex cases in his illustrious career. Lauren Bacall is acerbically funny as the chatty Mrs. Hubbard, her fussy outbursts masking her quiet intelligence. Martin Balsam has some great scenes with Albert Finney as the panicking Bianchi, who is the one who entrusts the case with Poirot. In a small but well-played part that won her an Oscar, Ingrid Bergman is luminous and touching as the missionary with poor command of English. Jacqueline Bisset and Michael York are icily impressive as the wealthy count and his beautiful bride. Jean-Pierre Cassel exudes a quiet intensity and shyness as the conductor Pierre, who is still a suspect despite helping out in the case. John Gielgud relishes the witty lines as the buttoned-up and knowledgable butler Beddoes. Wendy Hiller shines as the evasive member Russian royalty, along with Rachel Roberts as the terse German maid. Vanessa Redgrave glows in her role of the English teacher who doesn’t take kindly to Poirot’s questioning about her relationship with the colonel. In the brief but important role of Ratchett, Richard Widmark is sly and disagreeable even though he knows it’s only a matter of time before something happens to him. On the underused side, unfortunately is  Sean Connery who has nothing much to do in the film except vehemently disagree with Poirot. Anthony Perkins could have been used better, instead of him turning in another variation on Norman Bates. Denis Quilley and Colin Blakely are also not used to any real effect.

Despite the wasting of certain actors talents and the pace lulling at various points, Murder on the Orient is none the less a distinguished and thrilling adaptation of Agatha Christie’s murder mystery, presided over by the excellent direction of Sidney Lumet.

Death on the Nile

Tags

1970's, Agatha Christie, Angela Lansbury, Bette Davis, David Niven, Death on the Nile, George Kennedy, Jack Warden, Jane Birkin, John Guillermin, Jon Finch, Lois Chiles, Maggie Smith, Mia Farrow, Murder Mystery, Olivia Hussey, Peter Ustinov, Simon MacCorkindale

Film Title

Death on the Nile

Director

John Guillermin

Cast

• Peter Ustinov as Hercule Poirot
• Simon MacCorkindale as Simon Doyle
• Mia Farrow as Jacqueline De Bellefort
• Lois Chiles as Linnet Ridgeway Doyle
• Bette Davis as Mrs. Van Schuyler
• Maggie Smith as Miss Bowers
• Angela Lansbury as Salome Otterbourne
• David Niven as Colonel Johnny Race
• Jane Birkin as Louise Bourget
• Olivia Hussey as Rosalie Otterbourne
• George Kennedy as Andrew Pennington
• Jon Finch as James Ferguson
• Jack Warden as Dr. Bessner

Although it may not meet the lofty standards set by Murder on the Orient Express, Death on the Nile proves to be a star-studded and stunningly filmed mystery from the novel by Agatha Christie. Featuring Peter Ustinov in the first of his many outings as the eccentric Belgian sleuth Hercule Poirot, Death on the Nile is not to be missed for Christie fans and murder mystery hounds alike.

The setting is the glamorous 30’s. Linnet Ridgeway is the spoilt heiress who has everything she could ask for. Her best friend Jacqueline on the other hand is broke and in need of money. Her fiancée Simon is proposed a job working at Linnet’s English estate, it is here that he immediately falls for the beautiful Linnet. We later learn that he broke of his engagement to Jacqueline and married Linnet. This has incurred the wrath of Jacqueline who has stalked the couple on their honeymoon. The newlyweds eventually take a cruise down the Nile, not realising that the wounded Jacqueline is onboard. Also onboard is the famed Belgian sleuth Hercule Poirot, who is enjoying a vacation along with his good friend, Colonel Johnny Race. The rest of the people onboard the ship down the Nile are an eclectic bunch consisting of;Mrs Van Schuyler, a crusty old widow with a habit of stealing; her resentful nurse and companion Miss Bowers; Salome Otterbourne, a flamboyant writer of romantic novels; her unhappy but devoted daughter,Rosalie; Linnet’s melancholy lady in waiting, Louise; Linnet’s American lawyer Andrew Pennington, who is embezzling money from her; Jim Ferguson, a so-called citizen of the world who despises the rich and the odious Dr.Bessner.

Jacqueline’s persecution of the couple comes to a head one night in the saloon of the boat. She angrily confronts Simon and produces a pistol from her bag, before shooting Simon in the leg. This commotion is stopped when Simon is taken to Dr. Bessner for treatment and Jacqueline is given a short of morphine from Miss Bowers, in order to calm her manic state of mind. The next morning, Linnet is found dead in her cabin, her cause of death a gunshot wound to the head. It is then up to the intelligent Poirot to distinguish who out of the many guests would kill the heiress. It turns out that everyone on the boat either had a motive or grudge against her, but who actually went through with bumping her off? Prepare for a sumptuous and twisting web of secrets, deceit and revenge as the scrupulous Poirot tries to get to the heart of the increasingly difficult investigation.

The first thing that strikes you the most about Death on the Nile is the attention to detail. The authentic costumes deservedly won an Oscar and the set decoration is richly adorned to a high visual standard. The film also makes stunning use of many landmarks in Egypt, such as the temples of Abu Simbel and Karnak. The score is excellently composed, and captures the beauty of the Nile and then eventually the suspense and secrecy as Poirot attempts to find the murderer. Perhaps the biggest draw of the film is the cast, loaded with star power. As with most Christie adaptations, we have many eccentric characters, some more interesting than others in various cases. In his first performance as Poirot, Peter Ustinov combines eccentric mannerisms with a humour and intellect that make him a great interpretation of the iconic character. His scenes with David Niven, who is ideally cast as the archetypal British gentleman, have a fun edge to them but a serious understanding as they each work their way through the murky case in hand. Simon MacCorkindale makes an impression as the simple man whose relationships with two women seem to have caused fatal consequences. Mia Farrow embodies anger, jealousy and dejection as the vengeful Jacqueline, who won’t let go of the man she has always loved. In the small but pivotal part of the wealthy Linnet, the beautiful Lois Chiles creates a character who is both an arrogant, home-wrecking bitch and a persecuted woman. It is because of her actions that the whole story is set in motion and culminates in her death.

The great Bette Davis is a hoot as the scolding old widow, she is matched by Maggie Smith as her put upon nurse. The two actresses have a great energy in their scenes, bickering and exchanging bitchy lines with great zeal. There is also a delightfully eccentric performance from Angela Lansbury, as the scandal loving author who embarrasses herself a lot, especially in front of her daughter. In a brief part, Jane Birkin exudes a sad and tired quality as Linnet’s lady in waiting, who secretly wants a dowry in order for her to marry. As well as these stars, there are others but their roles are not fleshed out well enough to make them really interesting. Olivia Hussey works as best she can with her part, but isn’t given enough material to make her character memorable. George Kennedy and Jon Finch both suffer from the fact that their supposed motives for killing Linnet are not that convincing. And Jack Warden, who does have his funny moments, is most certainly underused. These are the only quibbles that I have with the film, as for the most part it is an exciting and gripping mystery with talent and locations surrounding it.

Although slightly slow in parts, Death on the Nile is still great fun as you try to work out who it was who killed Linnet. Mystery lovers this the film for you and for fans of starry casts, look no further than this excellent adaptation of Agatha Christie’s novel.

Also on another note, I’ve just realised this is my 100th post. I can’t beleive I have written this many.