Home > Books > Agatha Christie’s Marple: The Mirror Crack’d from Side to Side (2010)

Agatha Christie’s Marple: The Mirror Crack’d from Side to Side (2010)

Marple Julia McKenzie

Agatha Christie’s Marple: The Mirror Crack’d from Side to Side (2010) is one of the better source novels. Sometimes the plot ideas just come together with a simple and credible motive for the first killing and a very elegant method of murder when the opportunity presents itself. Thereafter the deaths that follow show the killer(s) attempting to cover tracks and avoid detection. For these purposes there’s always at least one person who’s seen something incriminating and/or is in possession of information that would reveal the identity of the killer(s). The perennial problem for anyone who writes detective novels in the Golden Age tradition is to maintain some degree of credibility in the plots. Many resort to complexity, thinking the intricacy of the mechanisms substitutes for the need for simple elegance. Others feel the need for variation. Instead of it always being the butler that did it, everyone in the cast of characters must take their turn. So the writers defy plot logic in order the achieve the result they believe will be most surprising to their readers.

So where are we with this third version of the novel to be produced? Having the advantage of two previous adaptations to study, Kevin Elyot has wisely picked the best bits and added one scene which is rather cunning. For once, the core of the original is left intact, and the result is all the better for it. However, this is not to say the final script we see on the screen is a complete success. By modern standards, Agatha Christie’s novels are short. Publishers today think that quantity is quality. So if the original were to be brought to the screen unadorned, it almost certainly would not fill the designated running time at about 90 minutes (leaving plenty of space for ads to bulk it out to a nominal two hours). Even with added material, there’s considerable padding which fills the screen amiably but does not advance the plot with any real enthusiasm. While not blaming the producers for working to their brief, the show as we see it could benefit from losing about 15 minutes. Although it’s always sad to see one character’s part cut back, the role of Dolly Bantry (Joanna Lumley) is overdone. It’s a good double act with Miss Marple (Julia McKenzie), but it also jars since this repeats her appearance in this role from The Body in the Library when she did the same act with Geraldine McEwan.

Joanna Lumley and Julia McKenzie

Joanna Lumley and Julia McKenzie

This leads us to consider what’s added to the original. The major element comes from borrowing the film set idea from The Mirror Crack’d film adaptation which has Marina Gregg (Lindsay Duncan) convinced someone has poisoned her coffee. Also from the film, Jane Marple’s foot is injured which leaves her housebound for the early part of the film and forces us to sit through Dolly Bantree giving a guided tour to the renovated Hall. Into the midst of all this strides Inspector Hewitt (Hugh Bonneville) who’s under instructions from his superiors at the Yard to co-operate with Miss Marple whose reputation has now been established as beyond reproach. He and his sergeant are the comic relief as they wander round trying to establish what it was Marina Gregg saw that left her so transfixed when greeting those entering the VIP area. The one original albeit minor addition is Marina Gregg visiting her son at a local care facility. This rather cleverly makes her seem a more human and tragic figure. Up to this point, she’s seen largely as an actress having trouble with her nerves and attention-seeking which makes her somewhat unsympathetic. Frankly you can understand why most of the people around her would have been queuing up to dispose of her.

I remain unsure whether this adaptation is better because Miss Marple saves one of the victims in the novel. When you have a killer on the loose and there are already two bodies, why not add the third? That said the ending retains the original equivocal nature. The way this is put together makes the suicide of the killer slightly more credible. Although it does remain open for the interpretation one other person might have administered the fatal dose. When you put all this together, The Mirror Crack’d from Side to Side is the best of the current adaptations so far. Given the poor standard, this is not saying much, but you do have the sense this was a better effort to capture the essence of the Agatha Christie original rather than try to rewrite in a way to make it fit modern expectations and sensibilities.

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: 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: They Do It with Mirrors (2009)
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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