"THE SITTAFORD MYSTERY" (2006) Review

 

"THE SITTAFORD MYSTERY" (2006) Review

I have never read Agatha Christie's 1931 novel, "The Sittaford Mystery". And I have read a lot of her novels. But since the novel did not feature Hercule Poirot, Miss Jane Marple, or Tommy and Tuppence Beresford; I never took the trouble to read it. Well, that is not fair. I can think of at least two or three Christie novels that did not feature any of these sleuths that I have read. But I have never read "The Sittaford Mystery".

So, imagine my surprise when I discovered that the ITV channel had aired an adaptation of the novel in which Geraldine McEwan appeared as Jane Marple. Okay. This is not the first time this has happened, considering that Christie did not write that many Miss Marple novels. "THE SITTAFORD MYSTERY" revolved around the murder of a politician who is viewed as a potential Prime Minister in the 1950s. The story begins in the 1920s Egypt, where Clive Trevelyan and a few companions stumble across an important archaeological discovery. Then the story jumps nearly thirty years later when Trevelyan, now a politician, returns to his home Sittaford House in Dartmoor with his aide John Enderby, while Parliament decides on whether he will become Britain's new Prime Minister, following the retirement of Sir Winston Churchill. Due to his friendship with the novelist Raymond West, Trevelyan finds himself forced to accept the latter's elderly aunt, Miss Jane Marple, as a house guest.

Much to Miss Marple and Enderby's surprise, Treveylan decides to chance the snowy weather outside and stay at a local hotel six miles away. The hotel include guests who seemed to be very familiar with Treveylan or familiar with an escapee from the local Dartmoore prison. One of the guests conduct a séance using a Ouiji board, which predicts Treveylan's death. Hours later, the politician is found stabbed to death in his room. With Miss Marple stuck at Sittaford House (temporarily); Enderby; a young journalist named Charles Burnaby; and Emily Trefusis, the fiancee of Treveylan's wastrel ward James Pearson; set out to find the murderer. However, it is not long before the trio find themselves seeking Miss Marple's help.

"THE SITTAFORD MYSTERY" strikes me as a rather confusing tale. I have a deep suspicion that in his effort to somewhat change the plot from Christie's original novel, screenwriter Stephen Churchett ended up creating a very convoluted story . . . right up to the last reel. I have seen this movie twice and for the likes of me, I still have no real idea of what was going on . . . aside from the first fifteen minutes and the movie's denouement. I was aware that the hotel featured guests that had connections with or knew Treveylan, including a former lover, her wallflower daughter, a middle-aged woman who seemed to be a fan of Treveylan, and an American businessman and his aide.

Churchett created a script filled with so many red herrings - unnecessary, as far as I am concerned - that I simply gave up in trying to guess the murderer's identity and waited for Miss Marple to expose him or her. Upon my first viewing. Upon my second viewing, I tried to examine the plot for any hints or clues that would lead to the killer's identity. Unfortunately, that did not happen until at least fifteen minutes before Miss Marple revealed the killer. I was also disappointed with how the movie resolved the romantic entanglements of Emily Trefusis, Charles Burnaby, James Pearson and a fourth character. I found it so contrived, for it came out of left field with no set up or hint whatsoever. What I found even more unconvincing was the last shot of the murderer staring at the camera with an evil grin. This struck me as an idiotic attempt by director Paul Unwin to channel or copy Alfred Hitchcock's last shot of Anthony Perkins in the 1960 movie, "PYSCHO". I found that moment so ridiculous.

I will give kudos to Rob Harris, the movie's production designer. I thought he did a competent job in creating the movie's setting - a snowbound English community in the early-to-mid 1950s. But do to the majority of the film being limited to either Treveylan's home and the hotel, Harris really did not have much to work with. Frances Tempest certainly did with her costume designs. I found nothing outstanding about them. But I must admit that I found them rather attractive, especially the costumes that actress Zoe Telford wore. On the other hand, I found Nicholas D. Knowland's cinematography rather odd . . . and not in a positive way. I did not like his photography, if I must be brutally honest. His unnecessary close-ups and odd angles struck me as an amateurish attempt by him and Unwin to transform "THE SITTAFORD MYSTERY" into an independent film or Hammer-style horror flick.

The performances in "THE SITTAFORD MYSTERY" proved to be a mixed bag. I have usually been a fan of Geraldine McEwan's portrayal of Miss Jane Marple. But I feel that she took the whole "verbose elderly lady" act a bit too far . . . especially in her scenes with Timothy Dalton during the first fifteen to twenty minutes. If I must be honest, most of the performances in the film seemed to be either over-the-top or close to being over-the-top. This was especially the case for Michael Brandon, Zoe Telford, Laurence Fox and Patricia Hodge. James Murray managed to refrain himself during most of the film. But even he managed to get into the act during the movie's last fifteen minutes or so. Carey Mulligan's performance seemed competent. She did not blow my mind, but at least she did not annoy me. Robert Hardy made a cameo appearance as Prime Minister Winston Churchill. This marked the eighth or ninth time the actor portrayed the politician and honestly, I could see this appearance was nothing more than a walk in the park for him. There were only four performances I truly enjoyed. One came from Mel Smith, who gave a very competent performance as Treveylan's right-hand man, John Enderby. I could say the same about Rita Tushingham, who gave a nuanced performance as a mysterious woman with knowledge of an ugly part in Treveylan's past. The role proved to be his last, for he passed away not long after the film's production. James Wilby was satisfyingly subtle as the town's local hotel owner, who had a secret to maintain. For me, the best performance came from Timothy Dalton, who was dazzling at the story's main victim, Clive Trevelyan. Considering that he was portraying a somewhat theatrical character, it is amazing that he managed to keep his performance under control, and struck a tight balance between theatricality and subtlety.

It is obvious to anyone reading this review that I did not like "THE SITTAFORD MYSTERY". I could complain about the changes made to Agatha Christie's novel. But I have never read it, so I saw no point in making any comparisons. But I still cared very little for the movie. I found the direction and photography rather amateurish. And aside from a few first-rate performances, I was not that impressed by the majority of the cast's acting - including, unfortunately, Geraldine McEwan's.

"THE SITTAFORD MYSTERY" (2006) Photo Gallery

 

Below are images from "THE SITTAFORD MYSTERY", the 2006 adaptation of Agatha Christie's 1931 novel. The television movie starred Geraldine McEwan as Miss Jane Marple:

"THE SITTAFORD MYSTERY" (2006) Photo Gallery

"THE BARCHESTER CHRONICLES" (1982) Review

 

"THE BARCHESTER CHRONICLES" (1982) Review

Back in 1982, the BBC turned to 19th century author Anthony Trollope for a seven-part miniseries called "THE BARCHESTER CHRONICLES". The miniseries was based upon the author’s first two Barchester novels about the Church of England.

Directed by David Giles and written by Alan Plater, "THE BARCHESTER CHRONICLES" is an adaptation of "The Warden" (1855) and "Barchester Towers" (1857). The novels focused upon the the dealings and social maneuverings of the clergy and gentry literature concern the dealings of the clergy and the gentry that go on between the citizens and members of the Church of England in the fictitious cathedral town of Barchester. Episodes One and Two, which are adaptations of "The Warden", center on the impact upon the Reverend Septimus Harding and his circle when a zealous young reformer named John Bold launches a campaign to expose the disparity in the apportionment of Hiram House, an almshouse for bedesmen, and its income between the latter and its officer, Reverend Harding. Mr. Bold embarks on this campaign out of a spirit of public duty, despite his previously cordial relationship with Mr. Harding and his romantic involvement with the latter’s younger daughter, Eleanor. Mr. Bold attempts to enlist the support and interest of Tom Towers, the editor of The Jupiter, who writs editorials supporting reform of the charity, and a portrait of Mr. Harding as being selfish and derelict in his conduct of his office. Despite the efforts of his bombastic, but well-meaning son-in-law, the Archdeacon Grantly, to ignore Mr. Bold’s reform campaign, and continue his position as warden of Hiram House. But Reverend Harding concludes that he cannot in good conscience continue to accept such a generous salary and resigns the position. John Bold, who had tried in vain to reverse the injury done to Mr. Harding, returns to Barchester and marries Eleanor.

In the remaining five episodes, based upon "Barchester Towers", the beloved Bishop of Barchester dies and many assume that his son, Archdeacon Grantly, will gain the position in his place. However thanks to a new Prime Minister, a newcomer, the Reverend Proudie, becomes the new bishop. His overbearing wife, Mrs Proudie, exercises an undue influence over the new bishop and becomes unpopular with right-thinking members of the clergy and their families. Her interference in the reappointment of the universally popular Mr Septimus Harding as warden of Hiram House is not well received, even though she gives the position to a needy clergyman with a large family to support. Even less popular than Mrs Proudie is the bishop's newly appointed chaplain, the hypocritical Mr. Obadiah Slope, who takes a fancy to Harding's wealthy widowed daughter, Eleanor Bold. He hopes to win her hand in marriage by interfering in the controversy over the wardenship of Hiram House. Due to Mrs. Proudie’s influence, the Bishop and Mr. Slope order the return of Dr. Vesey Stanhope from Italy. Dr Stanhope has been there, recovering from a sore throat for 12 years and has spent his time catching butterflies. His wife and three children accompany him back to Barchester. Dr. Stanhope’s only son also has eyes on Eleanor and her fortune. And the younger of his two daughters, the serial flirt Signora Madelina Vesey Neroni, causes consternation and hostility within Mrs. Proudie and threatens the plans of Mr. Slope.

Over the years, "THE BARCHESTER CHRONICLES" has become a highly acclaimed television production amongst costume drama fans and the critics. It also received several BAFTA nominations and won an award for Best Design (Chris Pemsel). Many fans and critics have also viewed it as the production responsible for one of Donald Pleasence’s best roles and the start of Alan Rickman’s fame as a skilled actor. When the miniseries first aired in the United States nearly two years later in October 1984, I tried very hard to enjoy it. I really did. Looking back, I realized that I was too young to really appreciate it and ended up getting bored. I never had any intention of ever watching again. But when I purchased a DVD set featuring "THE BARCHESTER CHRONICLES" and two other miniseries productions based upon Anthony Trollope’s works, I figured that I might as well give it another shot. And I am glad that I did.

"THE BARCHESTER CHRONICLES" turned out to be a sharp and funny look at the Church of England during the 1850s. The miniseries was filled with characters that have become so memorable to me that I find it difficult to erase them from my mind. In fact, I can honestly say that the characters really made the miniseries for me – especially characters such as Mrs. Proudie, the Reverend Obadiah Slope, Signora Neroni and the wonderfully charming and sweet, Reverend Harding. But the characters alone did not impress me. I was also impressed by screenwriter Alan Plater’s adaptation of the two novels. In my review of the 2007 miniseries, "CRANFORD", I had complained that it seemed disjointed to me and was more suited as an episodic television series, due to the fact that it was based upon three of Elizabeth Gaskell’s novellas. Although "THE BARCHESTER CHRONICLES" was based upon the first two of Trollope’s Barchester novels, it did not seem disjointed to me. Perhaps I felt this way, because the subject of the first two episode – namely Reverend Harding’s position as warden of Hiram House – also had a major impact on the plotlines of the last five episodes. I must admit that my knowledge of the hierarchy of the Church of England barely existed before I saw "THE BARCHESTER CHRONICLES" for the second time. After viewing the miniseries, it is still rather vague. But the controversy over Hiram House and the backstabbing, the romances and the manipulations that occurred between the characters really made watching the miniseries rather fun. There were moments when the miniseries’ pacing threatened to drag. And I could have done without a full sermon from Reverend Slope in Episode Three. But these flaws did not hamper the miniseries in the end.

I found most of the performances in "THE BARCHESTER CHRONICLES" top-notch. Mind you, there were some excursions into hammy acting – notably from Nigel Hawthorne as Archdeacon Grantly, Peter Blythe as the feckless Nigel Stanhope and yes, from Geraldine McEwan as Mrs. Proudie. Even Alan Rickman had a moment of hammy acting in his very last scene. But, the cast was generally first-rate. Despite their moments of hamminess, I must admit that I was very impressed by Hawthorne, McEwan and Rickman. Especially the latter, who gave a star turn as the slippery and obsequious Obadiah Slope. And Clive Swift gave a deliciously subtle performance as the weak-willed Bishop Proudie, who allowed himself to be bullied by his wife and manipulated by Mr. Slope. I was also impressed by Susan Hampshire’s performance as the manipulative and sexy Signora Neroni. The series did not go much into her character’s problems with her Italian husband, despite her negative comments on marriage. But watching her manipulate Rickman’s Reverend Slope really impressed and entertained me. And I also enjoyed Angela Pleasence’s portrayal of Archdeacon Grantly’s wife, Susan Harding Grantly. In many ways, she seemed like a more respectable version of the Signora Neroni – feminine, soft-spoken, a little manipulative and strong-willed. But the one performance that shone above the others for me was Donald Pleasence’s portrayal of the Reverend Septimus Harding. Characters like Reverend Harding usually tend to bore me. But Pleasence’s Reverend Harding was not only interesting, but also entertaining. I enjoyed how he managed to maintain his mild-mannered personality, while displaying a great deal of backbone against the aggressive maneuverings of Archdeacon Grantly and Mrs. Proudie, and his hostility over the slippery manipulations of Reverend Slope. My only quibble about Pleasence’s performance is that his scenes with Janet Maw, who portrayed Eleanor Harding Bold, left me feeling a bit uneasy. I realize that Reverend Harding and Eleanor had a close relationship, but there were moments – thanks to Pleasence and Maw’s performances – when their interactions seemed to hint a touch of incest. Very creepy.

Does "THE BARCHESTER CHRONICLES" still hold up after thirty-three years? Perhaps. The miniseries was obviously filmed on video tape. And the pictures are not as sharp as they could be. But I must admit that the photography was rich with color. And I just adored Juanita Waterson’s costume designs, which were shown with great effect in scenes that featured the Proudies’ soirée at the Bishop's residence and the Thornes’ garden party. She effectively captured the styles of mid-Victorian England. Perhaps some of the performances were a little hammy at times. And there were moments when the miniseries’ pacing threatened to drag. But overall, "THE BARCHESTER CHRONICLES" was a first-rate production that featured a well-written script by Alan Plater, an excellent cast led by Donald Pleasence and solid direction by David Giles. After thirty-three years, it remains a sharp and entertaining miniseries for me.

"THE BARCHESTER CHRONICLES" (1982) Screenshots Gallery

 

Below are screenshot images from the 1982 miniseries, "THE BARCHESTER CHRONICLES". Based upon two of Anthony Trollope's "BARCHESTER" novels - "The Warden" (1855) and "Barchester Towers" (1857), the miniseries starred Donald Pleasence, Nigel Hawthorne, Geraldine McEwan, Janet Maw, Alan Rickman, Angela Pleasence and Susan Hampshire:


"THE BARCHESTER CHRONICLES" (1982) Screenshots Gallery