paxveritas
Several reviewers have asked why Bickleigh married his wife in the first place. I haven't read the book, or been able to view this 2005 remake, but I've seen the 1979 version a couple of times and was amused by the plot and impressed with the acting. In the 1979 version, Mrs. Bickleigh - a delightfully authoritarian Judy Parfitt - states that they didn't love each other when they married, but she needed to "get away from a situation at home." The book by Francis Iles (one of Anthony Berkeley Cox's nommes de plume) is available for a few dollars from eBay, and that probably has more background on Mrs. B's problem at home before marrying the slick doctor.In 1979, Madeleine was superbly played by the always-wonderful Cheryl Campbell. Please catch that version if you can, it's in four 50-minute installments, without feeling like three and a half hours. Denny is not an alcoholic in that one, and there wasn't a hint of any French or other nationality creditors pursuing Madeleine.
Joshua Bozeman
So, you can't help feel sorry for Dr. Bickleigh...his older wife constantly puts him down, bosses him around, and is a general pain in the butt. He isn't a saint himself, he chose to marry her and also to have numerous women on the side. All the while tho, you can't help but root for Bickleigh and hope that he gets away with his actions. A horrifying idea really, since his motives are quite evil. Even worse, when you watch the film, you start to think to yourself that his motives aren't that evil at all, and you almost understand why he does what he does. Maybe, in the same situation, you might think of plotting the way he does as well.Odd how a film can make you feel the opposite of what you should feel morally and reasonably. But this story does just that, and to me that's a sign of a good story when it can affect you on that level.The cast is wonderful, and the settings are gorgeous- you never once feel as if you're watching a modern day tale merely set in the early part of the century, you just feel like you're there with them in a small British town, nearly a century in the past.Ben Miller, who I only saw once before in a British comedy series called The Worst Week of My Life, was great as Bickleigh. He played the part so well, he was the real reason you rooted for him even when he was acting in such vile ways. He did a good of making you sympathize with the character and you easily found yourself understanding why he did what he did.The plot was interesting, nothing too fancy or complicated, but a few twists were thrown in. I had no idea what the final outcome would ultimately be, and in the end, I was partly smiling to myself due to irony of it all, and I was also partly upset because it didn't seem as believable as the rest of the story. It seemed too easy the way things turned out, and after all that happened, it doesn't make sense that this would be his downfall- especially since there were some logical holes with the way things turned out. (I'm trying to explain this without spoiling any of the plot!) Anyhow, a nice piece of storytelling here, which is usually the case with the Mystery! films.
lamps
What a lovely, absorbing production. Bursting with period style supported by actors clearly enjoying the opportunity given to them. Ben Miller especially and intensely so.Even the most grotesquely contrived modern TV soap story line would struggle to compete with this dark plot. Love, sex, greed, jealousy, murder most foul and to cap it off, a twist in the tail.Most of all I enjoyed the pace. I dare say the whole thing could have been crammed into a Miss Marple style one hour afternoon TV filler but thankfully it wasn't. Three hours was timed to perfection. Enough time to absorb the period whilst the plot unfolds at a suitably measured pace.Unlike some two part TV dramas, there's no padding. We don't experience the disappointment of a promising first part followed by a damp squid second.A credit to all involved, especially it's producers.
lee8301
More murders take place in Britsh films and television than have ever occurred in reality. Moreover, the best of these crime stories are set in beautiful, almost idyllic surroundings, so that it becomes true that 'every prospect pleases, and only man is vile'. And, the people in this village are vile indeed. They are so mean-spirited, filled with gossip, selfish and conniving, and purposefully hurtful, that one feels sympathy for the murderer and wishes that he not only get away with his crime, but that he gets rid of the whole lot of his neighbors, too. The vicar is a schemer, revelling in local gossip, without a charitable thought in his body. His wife tells him that he has absolutely no knowledge of human nature, which is the reason he's a clergyman. His fat daughter is a block off the old chip. The elderly spinster sisters have not had a kind or decent thought in their heads since puberty and are certainly long overdue in meeting their Maker. The young women with whom the murderer has consorted are extremely beautiful and embarrassingly stupid. The young men in the village are even less intelligent, simply meaner. The locale, on the other hand, is exquisite. The furnishings and costumes are wonderfully evocative of rural England between the wars. The art direction, therefore, is typically marvelous. The English do it better than anybody. The script is intelligent and crisp. The story moves swiftly. The sex is moderately discreet but the hot-blood frequently surges. It's a pleasure to watch. What this village needs, however, is one of those old "Cobalt Bombs", the kind that destroys all the living creatures, but leaves the buildings and vegetation intact. They hardly will be missed, they hardly will be missed, I have a little list.
AD
