Miss Marple takes to the stage in 'Murder Most Foul'

Murder Most Foul (1965)
Starring: Margaret Rutherford, Ron Moody, Charles Tingwell, and Stringer Davis
Director: George Pollock
Rating: Seven of Ten Stars

Miss Marple (Rutherford) goes undercover as an actress in a third-rate theatre company to prove a man innocent of murder while catching the real killer by solving a mystery with origins more than 15 years in the past.


"Murder Most Foul" is a fine little murder mystery/comedy that was loosely adapted from Agatha Christie's novel "Mrs. McGinty is Dead". Once again, Margaret Rutherford gives a fantastic performance as the feisty, never-takes-no-for-an-answer Miss Marple. The comedy of the film gets even more pointed when the hammy director of the theatre company (played with great flair by Ron Moody, who is the only actor in the film who manages to be as flamboyant and fun to watch as star Rutherford) casts her as a lady detective in a murder play, so Miss Marple, the amateur detective, is called upon to play an amateur detective while pretending to be an actress.

"Murder Most Foul" is a fun, lighthearted mystery movie featuring a cast with a level of talent that doesn't seem to exist anymore. (The way Ron Moody manages to mix diffused menace with a completely casual attitude, or the way he can deliver a line that shows how his character changes his mood in mid-sentence is a display of craft that we simply don't see in movies anymore.)

Miss Marple is out to sea in 'Murder Ahoy!'

Murder Ahoy (1964)
Starring: Margaret Rutherford, Lionel Jeffries, Stringer Davis, Charles Tingwell, and Nicholas Parsons
Director: George Pollock
Rating: Six of Ten Stars

On the very day Miss Marple (Rutherford) is appointed to the Board of Trustees of a charity that runs a sailing ship where juvenile delinquients are rehabilitated, one of the other boardmembers is murdered. Miss Marple goes onboard the ship to investigate, and more murders follow as she uncovers a tangle of crime on the high seas that Blackbeard would have envied.


"Murder Ahoy" features Agatha Christie's Miss Marple character, but the film isn't based on any of Christie's books. In fact, like so many screen adaptations of literary characters, Miss Marple as she appears here is quite different than the Miss Marple of Christie's novels and short stories. (I think the only similarity is that they're both old spinsters who enjoy knitting. I can't ever imagine the Miss Marple in the books spending the night in jail, or dueling a killer with sabres as she does in this film, but both events fit perfectly with Miss Marple as played by Rutherford, who is more mischevious than prim.)

Although the story and actions of the various criminals and killers don't make a whole lot of sense, and the police are either stupider or lazier than suspension of disbelief can allow for, the film's leads give such fun performances that it hardly matters. Rutherford gives a great performance, but she is ably supported by Lionel Jeffries (as a twitchy ship's captain who is driven up the wall by Miss Marple's nosiness), Charles Tingwell (as a frustrated police inspector who shares the captain's pain), and Stringer Davis (who plays an elderly friend of Miss Marple who becomes her partner in detection and police-annoying). There's also a hilarious running gag with the doctor who is called to inspect the corpses (Parsons) always needing to run off to deliver a baby.("It's always life and death with him," comments a character after one of the doctor's speedy departures.)

There's also some marvelous soundtrack music by Ron Goodman's marverlous score--particularly the bouncy main theme--also plays a large part in making this movie as enjoyable as it is.

While may not have a whole lot to do with Agatha Christie's original Miss Marple character (or anything Christie actually wrote), this is a fun little comedy/mystery film that's worth checking out.

Christie adapation that's a true classic

And Then There Were None (1945)
Starring: Barry Fitzgerald, Walter Huston, Roland Young, Louis Hayward and June Deprez
Director: Rene Clair
Rating: Nine of Ten Stars

Ten strangers are invited to a manor house on an uninhabited island. They quickly learn that each of them have a dark secret in their past... and soon after that, an unseen killer delivers the ultimate punishment for their crimes, killing them one by one.


"And Then There Were None" is perhaps the best adaptation so far of this often-adapted Agatha Christie tale. Like most of them, it's not based on the novel, but rather on the play that Christie herself wrote from the novel. The play has a breezier pace, a less downbeat ending, and simply lends itself better to being filmed (which shouldn't be a surprise to anyone).

This version of "And Then There Were None" is full of expertly shot scenes, and there isn't a scrap of padding to be found. From the moment the ten guests arrive at the house and meet the two live-in servants, it's apparent something's amiss, and as the dead bodies start piling up and the survivors recognize the killer is hiding among them, the director uses lighting, camera angles, and expert editing and pacing to drive the tension even higher as he underscores the building mutual suspicion among those who remain. (The fact that the story is driven by a children's song about ten Indians that one by one come to a terrible end until there are none of them left also keeps the story moving--the audience knows it's only a matter of time before the killer strikes again.)

The only flaw I see with this film is one that I've always had with this story. I simply don't buy the method by which the killer hid, nor do I buy that no one thought to check on the cover that was being used. (I'm being vague here, because I don't want to spoil the film for those who may be unfamiliar with it.) That said, one of my favorite moments comes when a character who SHOULD have figured out what was going on finally does... only to die after a rather suspenseful build-up. Another cool moment is when the characters follow an unraveled ball of yarn and a playful kitten to find another dead body.

"And Then There Was None" is a true classic, based on one of the great "whodunnits" (even if some aspects of the mystery don't sit well with me, I can't deny it's a great work), and I think it's a film and a story that modern writers who think they're coming up with clever twists would do well to study. Here's a film and a story that actually IS clever and features well-executed and grounded twists.

'Love From a Stranger' is a gripping thriller

Love From a Stranger (aka "A Night of Terror") (1937)
Starring: Ann Harding and Basil Rathbone
Director: Rowland V. Lee
Rating: Seven of Ten Stars

Carol (Harding) wins the lottery and marries the perfect man (Rathbone) all within the space of a few months. The honeymoon's barely over, however, before she realizes he is not be what he seems. Carol soon finds herself in a contest of will and wits where her very life may be at stake.


"Love From a Stranger" is a remarkable thriller based on a story by Agatha Christie. It's a bit too slow in the build-up, but once it gets going, it's tense, exciting, and lots of fun. It's definitely a movie you want to stay with, because you'll be greatly rewarded for your patience. The final scenes of this movie are perhaps the best featured in any Christie adaptation, but it's only the greatest of many fantastic moments in the film.

Part of what makes this film great is the fact that it dates from a time when filmmakers had mastered the use of light and shadow in the black-and-white media to heighten suspense and tension. This may not be a "film noir" movie, but several of the scenes are lit and filmed with such style that film noir masters hopefully studied them. (The final scene is a particularly excellent example of this.)

The film's success is really due to the spectacular performances of Ann Harding and Basil Rathbone. It's the sort of a caliber that we don't see nearly enough of in modern films.

Particularly remarkable are the moments where Harding realizes she is married to a lunatic, and later, where it dawns her her that her very life depends on the next thing that comes out of her mouth. It both these scenes, Harding conveys more with her facial expressions than pages of dialogue would be able to do.

Similarly, Rathbone displays an amazing range in his performance here. He starts out as the ultimately gentleman, moves slowly into arrogance, barely concealed menace, and ultimately into fullblown insanity. The extended, crazy rant he delivers during this film is so over-the-top and so intense that even Jack Nicholson can only reach such heights in his dreams. (If you've only seen Rathbone as Sherlock Holmes, you've only seen a tiny fraction of what he is capable of on screen.)

"Love From a Stranger" is one of those films that has slipped through the cracks of cinema and into undeserved obscurity. If you like psychological thrillers, or if you're a fan of Basil Rathbone or Ann Harding, you need to see this movie.

(And here's a bit of trivia for Christie Completists: Joan Hickson, who at the end of her career would play spinster detective Miss Marple on British and American TV during the 1980s and 1990s, has a small role in this film at the beginning of her career, appearing as Emmy.)