By Mark Aldridge
This e-book is a finished exploration of ninety years of movie and tv variations of the world’s best-selling novelist’s paintings. Drawing on huge archival fabric, it deals new information about either the well known and forgotten display variations of Agatha Christie’s tales, together with unmade and infrequent variations, a few of which were unseen for greater than part a century. This historical past bargains fascinating insights into the discussions and debates that surrounded lots of those display initiatives – whatever that's dropped at lifestyles via formerly unpublished correspondence from Christie herself and a brand new wide-ranging interview together with her grandson, Mathew Prichard. Agatha Christie on Screen takes the reader on a trip from little recognized silent movie diversifications, via to recognized display productions together with 1974’s Murder at the Orient Express, in addition to the tv sequence of the Poirot and leave out Marple tales and, such a lot lately, the BBC’s acclaimed model of And Then there have been None.
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Extra info for Agatha Christie on Screen
At one or two early disasters eyebrows may have been raised. They will be raised again at the expense he has lavished on Love from a Stranger in: • • • Giving Frances Marion, Hollywood scenarist who never works on a picture for less than £5,000 down, the job of adapting the film;— Bringing first-class from Hollywood Ann Harding and Basil Rathbone and employing them for the film at three-figure weekly salaries;— Spending, early last year, £300,000 in rent for three of Denham’s ultra-modern studios.
Indeed, the fact that this was a mystery always CHAPTER 2: POIROT COMES TO THE SILVER SCREEN 23 intended for the stage results in a necessarily static story, which on stage takes place entirely in one room, a country house’s library. The action follows a top-secret formula that has been stolen from the house of leading physicist Sir Claud Amory, who calls in Poirot and his associate Captain Hastings, only to be fatally poisoned shortly before their arrival. Characters arrive and depart as the plotting dictates in a manner that is natural for the stage, but the locations would have required broadening out in order to make a satisfactory film production.
One reviewer succinctly called him ‘the usual silly-ass assistant’, echoing criticism of John Deverell’s performance as Lord Halliford in Alibi three years earlier. 31 Some attempts were made to present dialogue-based comedy, no doubt trying to add some levity to what is otherwise a reasonably dark tale, but they did not work particularly well. ’, which is one of Hastings’s more amusing moments, but witty repartee is rather misjudged when it comes to the conclusion of the picture. ’ ‘Under the circumstances, that’s a very tactless remark’ responds the villain of the piece just before the end title card fades in.