I recall seeing this on TV back in 1982 long before I got to see the original 1957 film version of Agatha Christie's short story, eager to see after a long absence the ageless Deborah Kerr and the exquisitely beautiful Diana Rigg, whom I had just seen on the big screen in the Agatha Christie murder mystery "Evil Under the Sun". Those who are huge fans of the 1957 Billy Wilder film will be either hugely disappointed or impressed by the subtle changes, where characterizations of the major players are quite different than they were 25 years before. Sir Ralph Richardson isn't as doddering as Charles Laughton's barrister, perhaps more fragile yet equally determined to remain vital in his beloved profession years after most people retire from it. I find that added more of a quality of me rooting for him more, because with Laughton, you know he was already crafty, where with Richardson, it's somewhere beneath the surface and must come out gradually as points of the murder case are revealed to him and everything comes together. Deborah Kerr, second billed in the supporting role of the nurse that Elsa Lanchaster played, is feisty and no-nonsense, but she's not as flighty in her line delivery as the former Bride of Frankenstein was.
The film starts with the legendary Wendy Hiller (a co-star of Kerr's from "Love on the Dole" and "Separate Tables") walking down a dark London street, and it is assumed that she will be the victim. But her walk is merely filmed to set up the atmosphere, as she walks into the home of her employer's, sees her laughing with an unseen visitor, and goes upstairs. A sudden crash and only the tiniest hint of a scream gives the indication that something nefarious has occurred, and indeed, when Hiller goes downstairs, she finds her employer dead and the room a ramshackled mess. Beau Bridges comes to see Richardson, certain he will be accused of her murder because of extenuating circumstances (he's been left the dead woman's estate), and over Kerr's objections, Richardson decides to take on his case when the arrest does finally occur. But the presence of Bridges' wife (Diana Rigg) puts a damper on Richardson's defense, especially when she is outed on the witness stand for being a liar and a bigamist. A surprise phone call to Richardson promises to turn the case around, and that of course, leads to some delightful twists and turns where another case becomes imminent for the energetic Richardson, revitalized after such a complex case.
I see my original rating, prior to writing this review , was a "10", and as good as this is, it is not perfect. I could have sworn it was multi-nominated for several acting Emmy's or Golden Globes, but found that not to be the case. Perhaps 25 years later after the film, there really were few surprises to discover in this Christie short story, even though the cast (particularly Rigg) is excellent. TV movies in the early 1980's also re-did a lot of the classic tales movie audiences were familiar with, coming around the time of another "Scarlet Pimpernel", "A Christmas Carol", "Oliver Twist" and various other classics of literature and the theater. Still, every detail in this TV version is letter perfect, with the mid 50's atmosphere so luscious, and location footage of the historical landmarks of London making me wish I was there right now. Rarely are remakes better than the original, and rarely are they just as good or even memorable. The aspect of that alone makes this worth seeking out, even if you are, like several friends of mine, major fans of the Laughton/Dietrich/Power version that is considered one of the great mind blowing mysteries of all time.
The film starts with the legendary Wendy Hiller (a co-star of Kerr's from "Love on the Dole" and "Separate Tables") walking down a dark London street, and it is assumed that she will be the victim. But her walk is merely filmed to set up the atmosphere, as she walks into the home of her employer's, sees her laughing with an unseen visitor, and goes upstairs. A sudden crash and only the tiniest hint of a scream gives the indication that something nefarious has occurred, and indeed, when Hiller goes downstairs, she finds her employer dead and the room a ramshackled mess. Beau Bridges comes to see Richardson, certain he will be accused of her murder because of extenuating circumstances (he's been left the dead woman's estate), and over Kerr's objections, Richardson decides to take on his case when the arrest does finally occur. But the presence of Bridges' wife (Diana Rigg) puts a damper on Richardson's defense, especially when she is outed on the witness stand for being a liar and a bigamist. A surprise phone call to Richardson promises to turn the case around, and that of course, leads to some delightful twists and turns where another case becomes imminent for the energetic Richardson, revitalized after such a complex case.
I see my original rating, prior to writing this review , was a "10", and as good as this is, it is not perfect. I could have sworn it was multi-nominated for several acting Emmy's or Golden Globes, but found that not to be the case. Perhaps 25 years later after the film, there really were few surprises to discover in this Christie short story, even though the cast (particularly Rigg) is excellent. TV movies in the early 1980's also re-did a lot of the classic tales movie audiences were familiar with, coming around the time of another "Scarlet Pimpernel", "A Christmas Carol", "Oliver Twist" and various other classics of literature and the theater. Still, every detail in this TV version is letter perfect, with the mid 50's atmosphere so luscious, and location footage of the historical landmarks of London making me wish I was there right now. Rarely are remakes better than the original, and rarely are they just as good or even memorable. The aspect of that alone makes this worth seeking out, even if you are, like several friends of mine, major fans of the Laughton/Dietrich/Power version that is considered one of the great mind blowing mysteries of all time.