Classic Film Review: Death on the Nile (1978)

This adaptation of Agatha Christie's novel certainly has a cast beyond compare. With all this talent on show you have to wonder whether the actual result will be disappointing under the weight of expectation. It isn't though: Death on the Nile is an excellent adaptation of an excellent mystery.

Belgian sleuth Hercule Poirot is played here for the first time by Peter Ustinov. Poirot is in Egypt about to take a trip down the Nile on the same boat as rich heiress, Linnet Ridgeway (Lois Chiles), who has gathered quite a few enemies through her lifetime. She has recently married Simon Doyle (Simon MacCorkindale) but stole him from his fiancée, Jacqueline (Mia Farrow). Jacqueline has decided to make their honeymoon hell, following them from place to place, even surprising them on top of a pyramid. Also on the boat are Mrs. Salome Otterbourne (Angela Lansbury) and her daughter Rosalie (Olivia Hussey) - Linnet is embroiled in a legal battle with romantic author Mrs Otterbourne after she made some defamatory remarks about her in print which makes enemies out of mother and daughter. There's also Mrs. Van Schuyler (Bette Davis), who has taken an interest in Linnet's pearls, and her companion Miss Bowers (Maggie Smith) who has an ancient grudge to settle with the Ridgeway family, whom she blames for her current dependent position. To round out the list there is Linnet's lawyer, Andrew Pennington (George Kennedy), who has been embezzling his client's funds and risks discovery now she's married; her maid, Louise (Jane Birkin), who has been seeking Linnet's permission to marry for years; Dr. Bessner (Jim Warden) who has been on the receiving end of slander by Linnet and socialist, Jim Ferguson, who believes she should be shot as a lesson to the 'others'. This makes for quite a list of motives when Linnet is killed and almost all of passengers had the opportunity. Poirot, with the help of Colonel Race (David Niven), sets out to discover the culprit but it isn't long before the bodies start piling up.

It could be said that this one takes a while to get going. The murder certainly doesn't happen immediately but this allows the viewer to grow intimate with the various suspects. The various introductions are well-paced, not overwhelming, and impart just enough information without overloading the audience. The writing is superb, which it should be given its origins, and the Egyptian scenery is absolutely breathtaking. You don't just get a formidable cast, you get it against the backdrop of some of the most majestic scenery in the world. Most of the cast getting on camels and donkeys was a sight to see also!

In all honesty, I think Angela Lansbury stole the show as drunk novelist Mrs. Otterbourne. If an actress draws your attention to her in every scene she's in, if she can play someone flamboyant to the point of invoking utter frustration in those around her and if she can scare David Niven's character just by dancing with him... Well, you've got a scene-stealer on your hands and that's no small feat alongside such an excellent cast. Bette Davis also has some stinging lines and her scenes with Maggie Smith (mainly in suits!) were pure gold. Their final exchange merits repeating: Mrs. Van Schulyer: "Come, Bowers, it's time to go, this place is beginning to resemble a mortuary." Miss Bowers: "Thank God you'll be in one yourself before too long you bloody old fossil!" Watching this film did nothing to dim my adoration of either Lansbury or Smith - in fact, it increased it which was damn difficult to achieve!

And what of Ustinov as Hercule Poirot? He was so perfect that he doesn't really merit discussion. He played  Poirot as he should be played - calculating, manipulative when necessary, amusing in his own way. There was nothing wrong with his performance, only his height. The moment where he faces off with a cobra in his bathroom is incredibly tense. That brings me to my final point: I was exceptionally impressed about how the directors weren't afraid to use silence when necessary. They seemed to accept that it ramped up the tension more than any words could. When an attempt is made on Linnet's life by a stone dropping from the top of some ruins, the viewer is alerted to what is going on by a silent look round at the suspects as they meander through the ruins then we're aware of someone climbing lots of stairs, only distinguishable by their breathing. This and the snake scene amongst others were perfect examples of how you don't need continuous noise to keep the audience on the edge of their seats - you just need something at stake. A perfect lesson to storytellers everywhere.

Classic Film Review: Indiscreet (1958)

I find it odd that Indiscreet was billed as a comedy as well as a romance. Although it has a few comic moments, it's a generally emotional film about actress Anna (Ingrid Bergman) who meets her brother-in-law's potential colleague, Philip (Cary Grant), after coming back unexpectedly from a trip. There is an immediate attraction and Anna accompanies them to the dinner where Philip is giving a speech. When they are left alone later, Philip admits he's married but Anna wants to go out with him anyway. Philip accepts a job in Paris so he can see Anna on weekends and they begin a romance. Unfortunately, Anna finally discovers Philip's deceit - Philip isn't married, he just doesn't ever want to get marriage and so lied about his situation. She then puts on the performance of her life in order to punish him.

There are some beautiful moments in this film. One that stands out for me is when Anna and Philip are reluctant to part after their first date. Philip sees her to the elevator, then into the elevator. As the attendant stands with his back to the camera there is a long look between Anna and Philip - nothing is said but the emotion between them is evident. Bergman and Grant make a perfectly believable couple and there is another wonderful split-screen scene when they are both in their beds talking to each other over the phone. Their romance feels real, which makes Anna's reaction to his marriage all the more explosive.

Special mention must go to the supporting cast in this one. Phyllis Calvert is superb as Anna's sister, Margaret, while her husband is played with a light comic touch by Cecil Parker. In addition, Anna's hired help - husband and wife team (played by David Kossoff and Megs Jenkins - are important to the later plot. There are no superfluous characters which allows the focus to rest on Bergman and Grant throughout. One final note: Anna's apartment struck me as one of the most elegant sets in film, perfectly suited to the character and well utilised for all the important scenes.

This was a beautiful romance with a kick and, as my first introduction to Ingrid Bergman, it was very good. Recommended and not only because Cary Grant dancing is hilarious.

Classic Film Review: Doctor in the House (1954)

Perhaps the most important flag to wave about Doctor in the House is that it is very British. Of course, I don't mean that as an insult but just as a warning to those who prefer their humour with more oomph. This is funny, yes, but there are few moments of physical humour.

Simon Sparrow (Dirk Bogarde) is starting medical school. He falls into an already-established group of men who have been there some time: Richard (Kenneth More), Tony (Donald Sinden) and Taffy (Donald Houston). Richard is easily the most vivid of these three - he was given an allowance in his grandmother's will as long as he remained a medical student so, naturally, he's not keen to graduate. Unfortunately, his girlfriend has issues being the wife of a perpetual student and threatens to leave if he doesn't knuckle down. As the years of their training progress, the group get into scrapes and are faced with real-life patients, not to mention the nursing staff. Lothario Tony gets himself into a little trouble and they all get into a lot of trouble when they pursue their stolen mascot in a stolen ambulance.

There were some genuinely funny moments in this, many brought about by the incomparable Kenneth More. In addition, Sir Lancelot Spratt played by James Robertson Justice is a wonderful character, given some of the best lines and the memorable moments in the film and brought by him and More. That isn't to say that the rest of the cast is inferior - Bogarde and the rest gelled perfectly as a team. However, my main problem with this one was the fragmentation. While it fits neatly with the premise (potential doctors have a lot to learn), it does mean that scenes often come to nothing and they can feel rushed and incomplete. For example, the title comes from a comment made by Sparrow's landlady but he only lives there for a very short time before moving with the group. Also, while Sparrow's false starts with two women were amusing to watch, I would've liked to have seen more of the interactions but maybe that's just me.

This is a good film to while away an afternoon with. I think my ambivalence can be summed up in one sentence: I enjoyed it but I won't be rushing to watch the numerous sequels.

Book Review: Troubles by J.G. Farrell

Troubles tells the story of Major Brendan Archer, a soldier who survived the trenches, who travels to Ireland in 1919 to 'claim' the fiancée he acquired on leave a few years earlier. In truth, he wants to break the engagement off but when he arrives at the dilapidated Majestic hotel he finds that easier said than done. He finds Angela, yes, but is also rapidly sucked into the lives of her father, brother, twin sisters, deaf grandmother, the assortment of guests and servants, not to mention the breeding cats that have taken over the Imperial Bar. And it doesn't help that Ireland is simmering with violence either.

Perhaps the first thing to acknowledge about this novel is how well-written and evocative it is. It's teeming with wonderful sentences and alarming images as the Major becomes accustomed to life at the unconventional hotel. You get a taste of this early on, as he returns to his room on his first night there:

"Then he noticed again, more strongly than before, the sweetish, nauseating odour he had decided to forget about earlier. It was an awful smell. He could not stand it. But the thought of opening the window to more moths made his skin crawl. He took a slipper from his suitcase and stalked the fluttering moths. But after he had splattered one or two against the wall he stopped, his nerves jangled by remorse, and wished he had left them alive. So while the others continued to whiz and circle around the electric light he started to search for the source of the smell, looking in cupboards, sniffing the washbasin, peering under the bed (none of these things, as it happened, smelled very savoury).


A small cupboard stood beside the bed. He wrenched open the door. On the top shelf there was nothing. On the bottom shelf was a chamber-pot and in the chamber-pot was a decaying object crawling with white maggots. From the middle of this object a large eye, bluish and corrupt, gazed up at the Major, who scarcely had time to reach the bathroom before he began to vomit brown soup and steamed bacon and cabbage. Little by little the smell of the object stole into the bathroom and enveloped it." (p43-44)

This is the first of many memorable scenes within the novel, which spans a few years until the Major is forced from the Majestic by events beyond his control. The Major is the sense within a situation plagued by nonsense. The hotel is quite literally disintegrating around him and the Spencer family is no better. He becomes the patriarchal figure within the hotel as the owner, Edward Spencer, slowly descends into his own world. Matters, however do come to a head, in a bloody and unexpected (though actually inevitable) manner.

I can't emphasise enough how much I enjoyed reading Troubles. It's exquisitely written and conveys the unsteady situation in Ireland at the time while not focusing specifically on it. By looking at how events overtake a ragged collection of hotel workers and guests, the story is a much more personal one. It's also very funny. There was rarely a section where I didn't laugh at least once, even if what I was laughing at was rather macabre. Also worth a mention is the array of peripheral characters - they all had their quirks that reoccurred and added to the story as a whole. Padraig and his (initially enforced) cross-dressing; Mr Norton with his debauched life and interest in the young twins; the old ladies who inevitably melted into one but each had their own personalities.

This is a rich novel for so many reasons. I wouldn't hesitate to recommend it, though there is a substantial amount of the grotesque which may not appeal to all.

Two Classic Film Events I'm Participating In

Just wanted to draw your attention to these two excellent events that I'll be participating in during the coming months. The first is the annual writing contest hosted by Film-Classics.com. There are four categories to choose from (and only thirty writers slots available) but I'm probably going to end up in the 'Film Review' category. I could tell you what my topic is but then I'd have to kill you. It's going to be new and in-depth though! The deadline for submissions is 27th July but the judging is a fairly rapid turnaround - well done to them for that!

The second event is the 'What a Character!' blogathon hosted by a trio of sites. This is an event dedicated to those unsung heroes of Hollywood, the character actors whose names have largely disappeared from the Hollywood dictionary. My topic for this one is the marvellous Majorie Main and I'm looking forward to writing about her in three of my favourite films! The schedule on this one is a little more spaced out - the actual blogathon takes place in September so there's still plenty of time to get in on this one if you want to.

I'll keep you posted on how I get on with these but I'll looking forward to reading some fantastic entries about my favourite eras of film.

Television Review: Case Sensitive S2

My review of series one can be found here.

In all honesty, I remember very little about the Sophie Hannah book this was adapted from, despite enjoying it so much! That meant that I again came into watching this with something of a fresh mind but it also means I can't point out discrepancies between the book and adaptation. No matter - this stood up well as a piece of drama in its own right once more.

Olivia Williams and Darren Boyd return as DS Charlie Zailer and DC Simon Waterhouse. Charlie's new acquaintance, Ruth (Eva Birthistle), mentions that 'a friend's' partner has claimed to have hurt someone in the past. Charlie's astute enough to know Ruth's talking about herself and stubborn enough to check out the man she thinks she's talking about - Ruth's husband, Jason. Unfortunately, when she pokes around Jason's house she finds his dead body there and a murder investigation begins. Prime suspects are Ruth and her new partner, Aidan (Theo James), a talented pianist but with the mysterious past he half-confided in Ruth.

I won't, of course, ruin the ending. However, I will say the whole arc was masterfully put together. One particular aspect that shone for me was the use of music - linked primarily to Aidan's piano skills - which provided the backdrop to some of the tense moments throughout the two episodes. I also appreciated seeing some of the lost sets from The Bill being used again, though it did make me miss it more. There were some moments that deliberated detached from reality - as Ruth watched the world go by in the police station for instance - but they were sparse and worked when used.

And what about the personal relationship between Charlie and Simon? Well, it certainly moved on a bit. Both parties experienced a bit of jealousy, Charlie when Simon seemed overly interested in DC Amber Williams (Christina Chong) and Simon in his roundabout way at various points. As I noticed in the first two-parter, Olivia Williams and Darren Boyd have a definite connection as Charlie and Simon. It's a partnership that works, even if Charlie - and the viewer - want to bash his head against a brick wall on occasion. I think it's difficult to sympathise with Simon as much as you do in the books because Charlie's viewpoint is the predominant one. That said, more scenes focused on Simon would be scenes of no movement. Boyd plays him to perfection, hovering just on the boundary between genius and irritant.

There was tension simmering throughout this one - both crime related and personal - and I'm already hungry for more. I do hope ITV don't disappoint me...again.

A Classics Challenge: July Prompt

I've been rather absent from this challenge recently (you can read my January and February responses, also on Dickens!) but I'm ready to participate again. The prompt for July is: What is a moment, quote, or character that you feel will stay with you? Years from now, when some of the details have faded, that lasting impression the book has left you with... what is it? --or why did it fail to leave an impression? I chose to consider The Old Curiosity Shop, reviewed in full here.

It may be an odd choice for me to say that Richard Swiveller from this novel will stick with me for quite some time. Although he doesn't have the presence within the story as, say, Daniel Quilp, his evolution through the novel is as memorable as anything else. Originally introduced as something of an accomplice to Fred Trent's plans to get his hands on money he perceives his grandfather to have, he is nudged towards a marriage with Nell Trent and is forced to sacrifice the affections of Miss Sophy Wackles as a result. He's manipulated by Quilp after the loss of an inheritance forces him to look for a job and ends up working at Quilp's behest for a lawyer and his sister, Sampson and Sally Brass. Poor Richard is then manipulated by them!

What I liked about Richard was the fact that he originally entered the novel as a potential villain (albeit a dim-witted one) and ended it as one of the chief saviours. Although he is struck down with a fever, it's his previous kind attentions to the 'Marchioness' which bring about the climax of the novel and the end of Daniel Quilp. My favourite paragraphs pertaining to Richard are those which summarise his life after the novel:

"Mr Swiveller, recovering very slowly from his illness, and entering into the receipt of his annuity, bought for the Marchioness a handsome stock of clothes, and put her to school forthwith, in redemption of the vow he had made upon his fevered bed. After casting about for some time for a name which should be worthy of her, he decided in favour of Sophronia Sphynx, as being euphonious and genteel, and furthermore indicative of mystery. Under this title the Marchioness repaired, in tears, to the school of his selection, from which, as she soon distanced all competitors, she was removed before the lapse of many quarters to one of a higher grade. It is but bare justice to Mr Swiveller to say, that, although the expenses of her education kept him in straightened circumstances for half a dozen years, he never slackened in his zeal, and always held himself sufficiently repaid by the accounts he heard (with great gravity) of her advancement, on his monthly visits to the governess, who looked upon him as a literary gentleman of eccentric habits, and of a most prodigious talent in quotation.


In a word, Mr Swiveller kept the Marchioness at this establishment until she was, at a moderate guess, full nineteen years of age - good-looking, clever, and good-humoured; when he began to consider seriously what was to be done next. On one of his periodical visits, while he was resolving this question in his mind, the Marchioness came down to him, alone, looking more smiling and more fresh than ever. Then it occurred to him, but not for the first time, that if she would marry him, how comfortable they might be! So Richard asked her; whatever she said, it wasn't No; and they were married in good earnest that day week, which gave Mr Swiveller frequent occasion to remark at divers subsequent periods that there had been a young lady saving up for him after all." (p541)

It may seem a strange thing to enjoy - a girl growing up under the benevolence of a man then marrying him - but Dickens has hinted at such a final solution through all their previous interactions. He offers it with dignity, as Richard educates her, almost beggaring himself in the process, and makes their marriage an equal - and more morally decent - one.