“THE MIRROR CRACK’D” (1992) Review

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“THE MIRROR CRACK’D” (1992) Review

Many critics tend to look upon Agatha Christie’s later novels with less favor. Among those novels viewed with less than any real enthusiasm was her 1962 novel, “The Mirror Crack’d from Side to Side”. I find this interesting, despite the fact that one movie and two television adaptations have been made from this story. 

“THE MIRROR CRACK’D” delved into the world of Hollywood movies through the new tenants of Gossington Hall, the former home of Colonel Arthur and Dolly Bantry. After the death of Colonel Bantry, Mrs. Bantry sold the manor to Hollywood movie star Marina Gregg and her husband, director Jason Rudd. Marina and Jason host a fête for the citizens of St. Mary Mead. Miss Jane Marple is one of the guests. Another is Heather Badcock, an annoying housewife and St. John Ambulance helper with a penchant for being self involved. During the reception inside the manor, Heather dies after drinking a poisoned cocktail. When the local police and Scotland Yard investigate Heather’s death, they realize that the cocktail had been meant for Marina Gregg. And they have plenty of suspects:

*Jason Rudd

*Dr. Gilchrist – Marina’s personal doctor

*Ella Zeilinsky – Jason’s lovesick secretary

*Lola Brewster – Hollywood starlet and Marina’s rival

*Ardwyck Fenn – Hollywood producer and Lola’s husband

*Margot Bence – Professional photographer and Marina’s former adopted daughter

*Arthur Badcock – Heather’s milequoast husband, who might had a reason to kill her

It is quite obvious that T.R. Bowen’s screenplay for “THE MIRROR CRACK’D” remained faithful to Christie’s 1962 novel. However, I did notice a few differences. The main police investigator, Dermot Craddock, turned out to be Miss Marple’s nephew, as he was in the 1980 adaptation with Angela Landsbury. And Marina and Jason’s Italian butler, Giuseppe Murano, had been murdered in the novel. In this movie, he was regulated to a minor supporting character and survived. Most fans would view the movie’s close similarity to Christie’s novel as a sign of its superiority as an adaptation. Faithfulness to the source material is not a sign of superior adaptation for me. I will admit that “THE MIRROR CRACK’D”is a pretty damn good adaptation. But I feel it had a few problems.

One of my problems with “THE MIRROR CRACK’D” is the casting of Judy Cornwell as Heather Badcock. Upon reading Christie’s novel, I had the impression that Heather must have been at least in her mid-30s or early 40s when she was killed, and in her 20s when she first met Marina Gregg during World War II. However, Judy Cornwell was in her early 50s when this movie was made and looked it. And since “THE MIRROR CRACK’D” took place in the 1950s – at least a little over a decade before Heather and Marina’s first meeting – I found it hard to accept Cornwell as the clueless Heather. I was also not that enamored of the scene featuring the revelation of the murderer very unsatisfying. But if I must be honest, the killer revelation scenes have never impressed me in most of the Miss Marple movies that starred Joan Hickson. They tend to be rather badly written. And what made revelation in this movie unsatisfying was T.R. Bowen and director Norman Stone’s decision to have Miss Marple reveal the killer’s identity to a cab driver, who was driving her to Gossington Hall. What on earth were they thinking? Talk about ruining a pretty good movie with a bad ending.

My biggest problem with “THE MIRROR CRACK’D” turned out to be Detective Inspector Dermot Craddock’s character background. As I had stated earlier, Bowen’s screenplay revealed Craddock as one of Miss Marple’s nephew, repeating the 1980 film’s characterization of him. If this had been John Castle’s first appearance as Detective-Inspector Craddock, I would not be making this complaint. But the actor first portrayed the character in 1985’s “A MURDER IS ANNOUNCED”, which also starred Joan Hickson as the elderly sleuth. And in that movie, Miss Marple and Craddock were strangers who had met for the first time, not blood relations. This was truly sloppy writing on Bowen’s part.

Fortunately, I still managed to enjoy “THE MIRROR CRACK’D” very much. I have to attribute this to Norman Stone’s lively direction. Most of the Jane Marple adaptations that starred Hickson had a tendency to drag in many parts. Aside from a few productions, I usually have difficulty staying alert, while watching them. I can thankfully say that I had no such problems with “THE MIRROR CRACK’D”. Not only did the movie benefited from Stone’s pacing, but also Bowen’s screenplay, and the cast. But I suspect that the movie’s subject matter – Hollywood in Britain – really helped to make“THE MIRROR CRACK’D” a lively affair. Not only did the story delved into the world of small town life in mid-20th century Britain, but also the Hollywood movie system during the same era. The movie featured some humorous interactions between the citizens of St. Mary Mead and its Hollywood visitors, along with a tension-filled dinner party featuring Marina, Jason, the latter’s secretary Ella Zeilinsky, producer Ardwyck Fenn and rival starlet Lola Brewster. Mind you, the movie lacked the entertaining bitch fest from the 1980 film, the script still managed to provide a few moments of bitchery from Marina, Ella and Lola. “THE MIRROR CRACK’D” also featured an amusing subplot featuring a companion hired by Miss Marple’s other nephew to take care of her. It seems the companion Miss Knight possessed a condescending manner that irritates the elderly woman.

I have to say that I found the movie’s production values very impressive. Merle Downie and Alan Spalding did an excellent job of re-creating 1950s Britain through their production designs. I suspect they had to add a bit of glamour to the movie, due to the story’s subject matter. The costumes for Hickson’s Miss Marple movies have always been first-rate. And Judy Pepperdine did a marvelous job in not only creating costumes for the St. Mary Mead citizens, but also the Hollywood characters. Cinematographer John Walker contributed to the movie’s sleek look with his colorful, yet sharp photography.

“THE MIRROR CRACK’D” featured Joan Hickson’s last performance as Jane Marple. Needless to say, she proved to provide her usual above-average performance. I was especially impressed by her comedic skills in the scenes featuring Miss Marple’s exasperation with the condescending Miss Knight. Claire Bloom gave a complicated and very skillful performance as the talented, yet high-strung Marina Gregg. I did not find this surprising. Only a first-rate actress like Bloom could portray a high-maintenance character like Marina, without resorting to hamminess. I was equally impressed by Barry Newman, who was marvelous as Marina’s husband, Jason Rudd. He did an excellent job of portraying an emotional and passionate character with great subtlety. Despite my annoyance at Dermot Craddock being written as one of Miss Marple’s nephews, I must admit that I was happy to see John Castle back in the role. I really enjoyed his performance as the intelligent and cool Craddock in “A MURDER IS ANNOUNCED”. When he failed to appear in 1987’s“4.50 TO PADDINGTON”, I must admit that I felt very disappointed. Thankfully, my disappointment was eradicated by his appearance and performance in this film.

Aside from the 1980 miniseries, “PRIDE AND PREJUDICE” and one or two other films, I have rarely seen Elizabeth Garvie in other film or movie productions. I certainly enjoyed her portrayal of Ella Zeilinsky, Jason Rudd’s sarcastic, yet love struck secretary. I may have had issues with Judy Cornwell being cast as Heather Badcock, but I have to admit that she did a pretty damn good job in portraying the self-involved woman. David Horovitch returned as Superintendent Slack. I found his appearance in the movie unnecessary, since he was not in the novel, but I must admit that Horovitch gave a rather funny performance. Margaret Courtenay was even funnier as the condescending companion, Miss Knight, who treated Miss Marple like a brainless child. The movie also featured solid performances from the likes of Glynis Barber, Ian Brimble, Norman Rodway and Gwen Watford. However, I found Constantine Gregory’s portrayal of Hollywood producer Ardwyck Fenn to be ridiculously over-the-top. One, he seemed to think that all Hollywood producers sounded and acted like gangsters from an old Warner Brothers film. And two, his American accent sucked. It is a pity that he did not study the American-born Newman, when he had the chance.

“THE MIRROR CRACK’D” had its flaws. But they were only a few. Overall, I found it entertaining and well-paced, thanks to Norman Stone’s direction and the movie’s production values. In the end, it proved to be a well made epilogue to Joan Hickson’s tenure as the cinematic Jane Marple.


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“THE KING’S SPEECH” (2010) Review

“THE KING’S SPEECH” (2010) Review

Inspirational movies have been the hallmark of Hollywood films over the decades. They especially became popular between the mid-1970s and the early 1990s. After the mid-90s, I never thought they would become popular again. But the recent release of the historical drama, “THE KING’S SPEECH” proved me wrong. 

Directed by Tom Hooper and written by David Seidler, ”THE KING’S SPEECH” told the story of Great Britain’s King George VI’s difficulties with a speech impediment and his relationship with Australian speech therapist Lionel Logue, who helped him overcome his stutter. The movie opened with George VI (then Prince Albert, Duke of York) at the closing of the 1925 Empire Exhibition at Wembley Stadium, with his wife Elizabeth by his side. There he gives a stammering speech that visibly unsettles the thousands of listeners in the audience. After nine years of unsuccessfully finding a speech therapist that can help him, Elizabeth recruits Australian-born Lionel Logue to meet him. The two men eventually bond and Logue helps the Duke of York overcome the latter’s stammer during a series of crises that include the death of George V; his brother, King Edward VIII’s romance with American divorcee, Wallis Simpson; the abdication of Edward; the Duke of York’s ascension to the throne as George VI; his coronation and the start of World War II. Also during this period, both king and speech therapist become close friends.

What can I say about ”THE KING’S SPEECH”? I cannot deny that it was a heartwarming tale about the growing friendship of two men from disparate backgrounds. Seidler’s script was filled with wit, charm, warmth and pathos that filled the heart. The cast, lead by Colin Firth and Geoffrey Rush, did great credit to the script. There have been complaints about the film’s historical accuracy from both the media and historians. And there is a good deal of the story that is historically inaccurate. George VI and Lionel Logue’s collaboration began as far back as 1926, not 1934. And the king was also pro-appeasement in the late 1930s. In fact, the majority of Britons during that period were pro-appeasement. What historians fail to realize is that appeasement was popular due to a lack of desire for another war against Germany. World War I had traumatized a generation that included George VI. One also has to remember that ”THE KING’S SPEECH” is a drama based upon historical fact, not a documentary. One would know by now that complete historical accuracy in a work of fiction is rare. It has been rare for as long as there have been fictional work based upon history. And to be honest, I do not believe that the movie’s fiddling with historical fact has not harmed the story.

One would think that I consider ”THE KING’S SPEECH” to be one of the best movies this year. Frankly, I find labeling what is”the best” rather subjective. I did enjoy the movie and it made the list of my Top Ten Favorite Movies of 2010. However, I must admit that I do not consider it to be a particularly original film. One, it is one of those inspirational films that moviegoers tend to love – movies like ”SEABISCUIT””CINDERELLA MAN” and the 1976 Oscar winner, ”ROCKY”. And if I must be brutally honest, there was nothing original about ”THE KING’S SPEECH” – even for an inspirational film. I already have a nickname for it – ’ROCKY in the Palace’. Another problem I have with the movie is that I was not that impressed by its visual style. I found Danny Cohen’s photography rather pedestrian. And Eve Stewart’s production designs and Judy Farr’s set decorations were very disappointing. Only the movie’s exterior shots prevented ”THE KING’S SPEECH” from becoming another filmed stage play. And the actual sets struck me as very dull. My hopes of a rich look at London and the rest of Great Britain during the 1920s and 30s fell short. I suppose I should not have been surprised by the movie’s uninspiring visual style. It only had a budget of $15 million dollars. I suspect the producers had very little money to work with.

With a few exceptions, the cast turned out to be first-rate. Colin Firth gave a superb and complex performance as the insecure sovereign with the speech impediment. I am not that surprised that he managed to earn nominations and win a good number of acting awards. Geoffrey Rush, who portrayed Lionel Logue, gave a first-rate performance filled with a great deal of sly humor. Also, he and Firth generated a strong screen chemistry. Helena Bonham-Carter was a charming and witty Duchess of York/Queen Elizabeth. However, I would have never considered her performance worth of any acting award nomination. She was simply portraying the “loyal wife” schtick. I was surprised to find Guy Pierce portraying the love obsessed and selfish Edward VIII. And I must he was very subtle and effective in revealing the man’s less admirable traits. The movie also benefitted solid performances from the likes of Michael Gambon as King George V, Claire Bloom as Queen Mary, and Anthony Andrews, who was surprisingly effective as Prime Minister Stanley Baldwin.

However, there were some performances that I found unsatisfying. Being a fan of Jennifer Ehle, I was disappointed in the limitations of her role as Logue’s wife, Myrtle. She hardly had a chance to do anything, except murmur a few words of encouragement to Logue. Her only great moment occurred in a scene that featured Myrtle Logue’s realization that the King of England was one of her husband’s clients. Seeing Ehle and Firth in the same scene together brought back memories of the 1995 adaptation of ”PRIDE AND PREJUDICE”. I also had a problem with Eve Best’s portrayal of American divorcee, WallisSimpson. Her Wallis came off as more extroverted than the divorcee in real life. And I hate to say this, but Timothy Spall’s interpretation of Winston Churchill seemed more like a parody than a serious portrayal. Every time he was on the screen, I could not help but wince.

In conclusion, I enjoyed ”THE KING’S SPEECH” very much. Despite its lack of originality, I found it heartwarming, humorous, and dramatic; thanks to Tom Hooper’s direction and Seidler’s writing. And aside from a few performances, I was impressed by the cast, especially leading men Colin Firth and Geoffrey Rush. I do not believe that it deserved the Best Picture Oscar it won. But I cannot deny that it was entertaining.