Home > TV and anime > Agatha Christie’s Marple: They Do It with Mirrors (2009)

Agatha Christie’s Marple: They Do It with Mirrors (2009)

Marple Julia McKenzie

As Agatha Christie Marple: They Do It with Mirrors (2009) gets underway with this latest slice of Golden Age detective fiction, we’re suddenly transfixed by the appearance of a number of “old stalwarts”. Well, perhaps “transfixed” is not quite doing justice to the moment. I confess to being stunned and amazed Joan Collins is still going strong. Born in 1933, she contrives to look younger than Julia McKenzie and Penelope Wilton. For the record, both the book and this script require all three to be approximately the same age, having attended the same school. I’m not sure how she’s managing to preserve her youthfulness but, if Joan Collins could put it in a bottle, she would make millions more than her acting career has so far delivered. This only leaves the problem of her screen presence which is what you might might call idiosyncratic. I suspect she’s always been less an actor and more a personality. Even at the height of her popularity in Dynasty, there’s a magnificently artificial quality about her. In this performance, she’s definitely not in the business of acting “with” Julia McKenzie. They both just happen to be on the screen at the same time. There’s also something distinctly weird about the accent adopted by Penelope Wilton. Not only is it uncertain what she’s supposed to be aiming at, the goalposts keep moving as her voice trembles into a different variation for every scene.

So where are we with this adaptation? In terms of fidelity to the book, we’re fairly accurate with two variations. In the novel, a part of the mansion has been turned over to house delinquent boys, whereas in this adaptation, we see a compound in the grounds for the rehabilitation of adult offenders. The second is a redesign of the group scene when Lewis Serrocold (Brian Cox) and Edgar Lawson (Tom Payne) have their argument — the body of Christian Gulbrandsen being found almost immediately afterwards. On balance, I think this an improvement over the book. What actually works well on the page might not look quite so good on the small screen. Whereas this rather cleverly preserves the spirit of the original while making it visually arresting and spreading the degree of uncertainty about who might have committed the murder. The arrival of Johnny Restarick (Ian Ogilvy) is also pleasing, allowing us to see the outside of the mansion from his perspective in flashback as he approached through the early evening mist.

Julia McKenzie and Joan Collins as "old friends"

Julia McKenzie and Joan Collins as “old friends”

For once, keeping the ending the same also works well given this motive for the murders. There’s considerable pathos in seeing this acted out. However the other elements of the ending are definitely not even vaguely realistic. The failed marriage between Gina Elsworth (Emma Griffiths Malin) and Wally Hudd (Elliot Cowan) has been nicely shown. She’s shamelessly flirting with all and sundry while he stares morosely into his morning porridge. Then, miraculously she’s reformed and goes off to produce multiple babies to populate a house on the prairies. It’s wholly incredible. I’m also not sure about the character of Mildred (Sarah Smart). Even allowing for the fact her mother is shown as a complete failure in the parenting stakes, she’s grown up into an embittered religious fanatic, considered somewhat loopy by everyone. To have her reconcile with her mother and essentially become “normal” is stretching credibility. Finally, we come to the core “romance” between the Serrocolds. Given this version of the story, their relationship is supposed to be deeply loving where he would do almost anything for her. Frankly, I think these parts fundamentally miscast or the director is seriously at fault. Penelope Wilton comes across as almost completely self-absorbed with little or no empathy as a parent or wife. After seeing him play an endless sequence of villains, it’s fun to see Brian Cox try to appear somewhat more normal. But this performance fails to show any affection. Although couples who have been married for a few years can lack the more obvious signs of passion, this couple just seems to be sharing occupation of the house and an interest in rehabilitating criminals. They’re more like colleagues than lovers.

The result of all this musing is another failure. I’m still not convinced by Julia McKenzie as Miss Marple. She doesn’t feel proactive enough. When Joan Hickson was on the case, you felt a judge and jury had walked on to the screen to weigh the wickedness around her. For all her faults, Geraldine McEwan had a certain self-mockery about her performance, being fairly dotty and not averse to trying to matchmake when there was a young couple to push in the right direction. In this story, Miss Marple is supposed to walk into the household and take command to ensure nothing happens to her lifelong friend. Sadly, there’s absolutely no sign of that at all. So with all the weak performances and a fairly indifferent plot, Agatha Christie’s Marple: They Do It with Mirrors is showing every sign of continuing the decline of the series into oblivion.

For reviews of other Agatha Christie stories and novels, see:

Agatha Christie’s Marple (2004) — the first three episodes
Agatha Christie’s Marple (2005) — the second set of three episodes
Agatha Christie’s Marple (2006) — the third set of three episodes
Agatha Christie’s Marple (2007) — the final set of three episodes
Agatha Christie’s Marple: The Blue Geranium (2010)
Agatha Christie’s Marple: A Caribbean Mystery (2013)
Agatha Christie’s Marple: Endless Night (2013)
Agatha Christie’s Marple: Greenshaw’s Folly (2013)
Agatha Christie’s Marple: The Mirror Crack’d from Side to Side (2010)
Agatha Christie’s Marple: Murder is Easy (2009)
Agatha Christie’s Marple: The Pale Horse (2010)
Agatha Christie’s Marple: A Pocket Full of Rye (2008)
Agatha Christie’s Marple: The Secret of Chimneys (2010)
Agatha Christie’s Marple: Why Didn’t They Ask Evans? (2009)
Agatha Christie’s Poirot: The Adventure of the Egyptian Tomb (1993)
Agatha Christie’s Poirot: The Adventure of the Italian Nobleman (1993)
Agatha Christie’s Poirot: The Big Four (2013)
Agatha Christie’s Poirot: The Case of the Missing Will (1993)
Agatha Christie’s Poirot: The Chocolate Box (1993)
Agatha Christie’s Poirot: The Clocks (2009)
Agatha Christie’s Poirot: Curtain. Poirot’s Last Case (2013)
Agatha Christie’s Poirot: Dead Man’s Folly (2013)
Agatha Christie’s Poirot: Dead Man’s Mirror (1993)
Agatha Christie’s Poirot: Elephants Can Remember (2013)
Agatha Christie’s Poirot: Hallowe’en Party (2010)
Agatha Christie’s Poirot: The Jewel Robbery at the Grand Metropolitan (1993)
Agatha Christie’s Poirot: The Labours of Hercules (2013)
Agatha Christie’s Poirot: Murder on the Orient Express (2010)
Agatha Christie’s Poirot: Three Act Tragedy (2011)
Agatha Christie’s Poirot: Underdog (1993)
Agatha Christie’s Poirot: The Yellow Iris (1993)

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