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Agatha Christie’s Marple: Endless Night (2013)

January 25, 2014 Leave a comment

Marple Julia McKenzie

Agatha Christie’s Marple: Season 6, episode 3. Endless Night (2013) starts with an unfortunate accident on the ice in 1948 where Mike Rogers (Tom Hughes) tries unsuccessfully to save the brother of Robbie Hayman (Aneurin Barnard). They were skating on thin ice as Robbie looked on from the bank reading a book. Ah, such memories can haunt a man. So nearly the hero. . . Then we wind forward to 1956 where Miss Marple (Julia McKenzie) is staying with a recently widowed friend Marjorie Phillpot (Wendy Craig). In the high street, she meets Mike Rogers, now earning a living as a chauffeur. They see a poster advertising Gypsy’s Acre for sale, but it seems no-one wants to buy it — it’s reputed to be cursed. When he goes to view the rundown ruin, Mike meets Esther Lee (Janet Henfrey) who, by way of fortune-telling, quotes William Blake in Auguries of Innocence: some are born to endless night (some gypsies know too much for their own good).

So here we go with familiar twin themes of unlikely romance and the supernatural, stolen kisses, curses and portentous dreams of death. And in the background, Robbie Hayman has been announcing he’s going to die so this gives him a licence to do whatever he wants including shooting people (hopefully no-one he knows). This plot is playing with the stereotype of the lower class chancer who meets and marries the rich American heiress Ellie Goodman (Joanna Vanderham). Since we’re invited to watch this story from his point of view and he’s not necessarily the most reliable of narrators, we’re invited to suspect he might marry for money and then find a way in which his wife might meet an accident and so make him rich — assuming the estate is set up to allow him to inherit (which it proves to be).

Joanna Venderham and Tom Hughes survey Gypsy's Acre

Joanna Venderham and Tom Hughes survey Gypsy’s Acre

Coincidentally, the couple meet up with Miss Marple and Marjorie while on their honeymoon in Italy. When the family of the heiress realise she’s married in secret, they go through outraged shock to bitter acceptance. Meanwhile, the house is being built on Gypsy’s Acre. They knock down the crumbling pile and erect a square glass monstrosity — no wonder local people want to kill them. On their first visit to their new home, a rock flies through one of the windows — someone has a great throwing arm to reach from a hidden position in the woods to an elevated window. The breaking glass cuts Ellie’s face — a gypsy’s warning, perhaps? There’s a folly in the woods. What a classic touch and plenty of opportunity for spookiness.

Ellie has a Swedish friend, Greta Anderson (Birgitte Hjort Sørensen). When she asserts the right to share the modern nest with the newly weds, Mike is outraged. He wants Ellie all to himself. Greta begins looking for a home nearby. It then appears the new wife may have a heart problem and then there’s the question of what pills she might be taking. Later a dead bird and threatening note appear on their doorstep. Lee is suspected but she’s not around. Miss Marple finds a large bankroll of cash in her cottage. And finally. . . a riding accident: Ellie lying next to a horse out in the countryside. The doctor says she’s been dead three or four hours. The doctor diagnoses heart failure brought on by the shock of falling. Of course, none of these stories work if such diagnoses are correct. To understand the problems with this adaptation, we need to go back to the beginning.

The original novel is a first-person narrative told by Mike Rogers and introducing Miss Marple into such a plot creates an unfortunate tension because she’s required to keep appearing in the most unexpected places in order to see the relevant key events. We even have her investigating the folly and speculatively kicking over the traces in the quarry so she can work out what must have happened. It seems she’s become a stalker and exercises a more or less free right of entry into the couple’s modern house. The less said about the melodrama of the ending, the better. Kevin Elyot, the scriptwriter, never resolves the dilemma. Either this is to be a slightly different version of The Murder of Roger Ackroyd in which we see the story slowly reveal the reality of how Ellie comes to die, i.e. that’s why we have Mike’s voiceovers at strategic moments, or we have Miss Marple investigating a suspicious death.

Not that it really matters, but I’ve no idea where the Hamburg newspaper clipping came from. So this leaves us with a plot which has a suspicion of interest and an overwhelming flood of bad judgement. The faint interest lies in the decision to leave Mike’s point of view more or less in place. The Marple and Poirot formula of stumbling across a body and then working out whodunnit does grow slightly wearisome over time. This format avoids the cast of likely suspects and the strewing of herrings, red or otherwise. As a piece of television, this actually starts quite well until we get these endless coincidences to insert Miss Marple into the plot. The ending with her running around like a world-class sprinter and the dramatic fire does nothing to explain the psychology of the killer. Consequently, Endless Night proves to be a rather linear version of the plot, lacking any real twists and turns, or grand reveal at the end. The set-up is good enough, but then there’s no real mystery and absolutely no suspense. This leave us disappointed to say the least.

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: 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: 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)

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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