"TOWARDS ZERO" (2007) Review

"TOWARDS ZERO" (2007) Review

When it comes to the television adaptations of Agatha Christie’s Jane Marple novels, I tend to stick with those that featured the late Joan Hickson as the elderly sleuth. However, my curiosity got the best of me and I decided to watch a movie that starred Geraldine McEwan as Miss Jane Marple. And this movie is the 2007 adaptation of Christie’s 1944 novel called "Towards Zero". 

The adaptation of Christie’s novel has drawn a good deal of criticism from purists. First of all, the novel is not a Jane Marple mystery. Instead, the main investigator in "Towards Zero" turned out to be Superintendant Battle, who had been featured in a few other Christie novels, including one Hercule Poirot tale - "Cards on the Table". However, Battle did not appear in the 2007 adaptation. Jane Marple replaced him as the story’s main detective, with the police represented by Alan Davies as one Superintendant Mallard. Since "Towards Zero" has always been one of my favorite Christie novels, I decided to give the movie a chance.

In "TOWARDS ZERO", Jane Marple is invited to a house party hosted by an old school friend named Lady Camilla Tressilian. Also included in the party are the following:

*Neville Strange – Professional tennis star and Lady Tressilian’s ward

*Kay Strange – Neville’s younger second wife

*Audrey Strange - Neville’s reserved ex-wife

*Thomas Royce – Owner of a Malaysian plantation and Audrey’s distant cousin

*Mary Aldin – Lady Tressilian’s companion

*Ted Latimer – Kay’s childhood friend

*Mr. Treves- Lady Tressilian’s friend and solicitor

The house party turned out to be a tense affair, due to emotions running rampant between the characters. Neville discovered that he was still in love with his first wife, Audrey. She seemed to harbor emotions for him, despite her reserved behavior. Thomas seemed jealous of Neville, due to his love for Audrey. Mary seemed attracted to Thomas and a little envious of Audrey. Kay was obviously jealous of Audrey. And Ted was also jealous of Neville, due to his love for Kay.

During a supper party, Mr. Treves recalled an old murder case in which a child had made deliberate preparations to kill another and make it look like an accident. That child, according to Mr. Treves, had a peculiar physical trait. All of the suspects possessed a peculiar physical trait. And following the supper party, Mr. Treves died from a heart attack after climbing some stairs that lead to his hotel room. Someone had placed a NOT IN SERVICE sign in front of his hotel’s elevator. Another day or two later, this same person brutally murdered old Lady Tressilian with a blow to the head.

As I had earlier stated, the 1944 novel has always been a favorite of mine. Christie had crafted a complex and original mystery filled with characters of great psychological depth. By inserting another Christie creation – Jane Marple – as the story’s main investigator, I feared that this 2007 adaptation would prove to be a bust. Imagine my surprise when my fears proved to be groundless. Thanks to director David Grindley and screenwriter Kevin Elyot, I found myself surprisingly satisfied with this movie. Despite a few changes – namely the post-World War II setting, Jane Marple as the story’s main detective, the deletion of a character named Andrew MacWhirter, the addition of another character named Diana, the new police officer in charge of the case – Superintendant Mallard, and the budding romance in the story’s conclusion that did not happen in the novel. Perhaps that is why I had enjoyed it so much. Both Grindley and Elyot recognized the novel’s first-rate plot and tried to follow it as closely as possible.

The production values for "TOWARDS ZERO" impressed me as well. Production designer Michael Pickwoad did an excellent job in re-creating Britain of the early-to-mid 1950s. And he was ably supported by Sue Gibson’s beautiful photography, which struck me as rich in color and sharp. Sheena Napier’s costumes not only captured the era perfectly, but also the personality of each character. I do have one quibble – namely Saffron Burrows’ hairstyle. I am aware that some women wore their hair slightly long past the shoulders. But I got the impression that the hairdresser could not decide whether to give Burrows a 1950s hairstyle or a modern one. Her hair struck me as a confusing mixture of the mid 20th century and the early 21st century.

The cast turned out better than I had expected. If I must be honest, I could not spot a bad performance amongst the entire cast . . . even from Julian Sands, whom I have never been that impressed by in the past. But there were a handful that really impressed me. One came from Saffron Burrows, who gave one of the most enigmatic and intense performances I have ever encountered in a Christie film. I could never tell whether her character was guilty of the two murders or not. And Burrows did a superb job in conveying this ambiguity of the Audrey Strange character with very little dialogue. I was also impressed by Zoe Tapper’s portrayal of the more extroverted Kay Strange. Tapper could have easily given an over-the-top performance, considering the type of character she had portrayed. But the actress conveyed Kay’s passionate nature without turning the character into a one-note scream fest. I also enjoyed Alan Davies as Superintendant Mallard, the new police investigator in this mystery. I not only enjoyed his wit, but also his transformation from his contempt toward Jane Marple’s investigative skills to a full partnership with the elderly amateur sleuth. And Eileen Atkins provided a great deal of comic relief as the second victim, Lady Camilla Tressilian. Not only did she provide much of the story’s sharp humor, Atkins also captured the character’s bombastic and arrogant nature. Her Lady Tressilian struck me as a modern day Lady Catherine de Bourgh, but with a stronger moral center.

But I believe the two best performances came from Greg Wise and Geraldine McEwan as Jane Marple. I found myself completely surprised by Wise’s impressive portrayal of the tennis pro with the two wives, Neville Strange. His performance perfectly portrayed Neville as the complex force of nature that had a major impact upon the other characters in "TOWARDS ZERO", without indulging in any hammy acting. But I was more than impressed by Geraldine McEwan’s portrayal of Jane Marple. I had seen McEwan’s portrayal of Miss Marple in "THE SITFORD MYSTERY", and found her performance ridiculously mannered and annoying. No such exaggerated mannerisms marred McEwan’s performance in "TOWARDS ZERO". The actress gave a subtle performance laced with subtle humor and her character’s intelligence. One of McEwan’s best moments featured very little dialogue on her part in a scene between Miss Marple and the verbose Lady Tressilian, inside the latter’s bedroom.

Most Agatha Christie purists might automatically dismiss this adaptation of "TOWARDS ZERO". Especially since the script changed the main investigator from the literary Superintendant Battle to a cinematic Jane Marple. But despite this major change, along with another that included a romance that emerged in the film’s final scene; David Grindley’s direction and Kevin Elyot’s script remained surprisingly faithful to Agatha Christie’s novel. Normally, I would care less about changes in an adaptation of a novel. But in the case of "TOWARDS ZERO", this close adherence ended up working in the movie’s favor.

"SENSE AND SENSIBILITY" (1995) Review

"SENSE AND SENSIBILITY" (1995) Review

The year 1995 saw the beginning of an onslaught of Britain and the United States’ love affair with British author, Jane Austen. A love affair that has not abated after fourteen (14) years. In 1995, the BBC aired Andrew Davies’ miniseries adaptation of Austen’s most famous novel, ”Pride and Prejudice”. And later that year, Hollywood released its adaptation of another Austen, ”Sense and Sensibility” - which I had just recently watched. 

Directed by Ang Lee, ”SENSE AND SENSIBILITY”, starred Emma Thompson (who also wrote the screenplay), Kate Winslet, Alan Rickman and Hugh Grant. The story centered around Elinor (Thompson) and Marianne (Winslet), two daughters of Mr. Dashwood (Tom Wilkinson) by his second wife (Gemma Jones). They have a younger sister, Margaret (Emilie François), and an older half-brother named John (James Fleet). When their father dies, the family estate passes to John, and the Dashwood women are left in reduced circumstances. The story follows the Dashwood sisters to their new home, a cottage on a distant relative's property (Robert Hardy), where they experience both romance and heartbreak. The contrast between the quiet and sensible Elinor and the extroverted and occasionally impetuous Marianne is eventually resolved as each sister finds love and lasting happiness. This leads some to believe that the story’s title described how Elinor and Marianne find a balance between sense and sensibility in life and love.

Producer Lindsay Doran made an excellent choice in selecting Lee to direct the film. First of all, he drew some excellent performances from his cast - especially from Thompson, Winslet, and Rickman. Lee also effectively drew filmgoers back into Regency England without allowing the film to resemble some kind of stiff painting or a museum piece. Although he initially had trouble with dealing with Western-style of filmmaking – especially in dealing with British cast members who questioned his direction and made suggestions regarding shots. He could be rather authoritarian with the cast, especially with Hugh Grant. The actor ended up calling him ”the Brute” behind his back. But Lee and the cast eventually got used to each other. Lee was also responsible for insisting that Thompson play the oldest Dashwood sister. And he Lee ordered Winslet to read poetry and novels from the late 18th century and early 19th century in order to get her to connect to Marianne’s romantic nature. And to give the movie its emotional core, he asked both Thompson and Winslet to room together during production. The two actresses remain close friends to this day. 

Not only was Lee ably assisted by his superb cast, but also by crew members such as costume designers Jenny Beavan and John Bright, production designer Luciana Arrighi, set decorator Ian Whittaker, art directors Philip Elton and Andrew Sanders; and cinematographer Michael Coulter, whose photography beautifully captured the English countryside in all of its glory. I especially have to give kudos to Coulter’s photography and Arrighi’s production design for a beautiful re-creation of Regency London. I also enjoyed composer Patrick Doyle’s score for the film. His use of John Dowland’s song, "Weep You No More Sad Fountains" as Marianne’s own theme song struck me as very impressive. But I have to especially give kudos to Emma Thompson for her marvelous adaptation of Austen’s novel. It may not have adhered exactly to the novel, but I found it well written, lively and paced just right. 

With the exception of two performances, I felt more than impressed with the cast. When Ang Lee had signed on as the movie’s director, he immediately suggested that Emma Thompson portray the oldest Dashwood sister, Elinor. Thompson considered herself too old for the role, considering that Elinor was at least 19-20 years old in the novel. But Lee suggested that she increase Elinor’s age to 27 in the screenplay, which would also make her distress at being a spinster easier for contemporary audiences to understand. Frankly, I feel that Lee made a good choice. Emma Thompson gave a superb performance as Elinor Dashwood, whose practical mind led her to act as the family’s de facto leader, following her father’s death. She also brilliantly conveyed Elinor’s emotional nature behind a mask of reticence via her eyes and various expressions. Kate Winslet had no need to be subtle as the more openly emotional Marianne Dashwood. Winslet was at least 20 years old when she filmed ”SENSE AND SENSIBILITY’. Yet, even at that tender age, Winslet proved that she had the talent and acting chops to portray the very complex Marianne. And yet, she managed to convey all aspects of Marianne’s personality – romantic, willful, emotional and sometimes a bit self-involved - with surprising subtlety.

I found Alan Rickman impressive as one of the Dashwoods’ new neighbors, the quiet and dependable Colonel Christopher Brandon. I enjoyed the subtle manner in which Rickman expressed Brandon’s reluctance in expressing his love for Marianne, due to her feelings for another man. That other man proved to Greg Wise, who gave a surprisingly effective performance as the dashing, yet rakish John Willoughby. Wise has never struck me as an exceptional actor, but I must admit that I consider Willoughby to be one of his three best performances. The movie’s supporting cast also included Robert Hardy and the late Elizabeth Spriggs, who gave amusing performances as Sir John Middleton, the Dashwoods’ cousin and benefactor; and Mrs. Jennings, Sir John’s mother-in-law. Gemma Jones was excellent as the emotional and sometimes girlish mother of the Dashwood sisters. I was also impressed by Harriet Walter, who portrayed the sisters’ shrewish sister-in-law, Fanny Dashwood. And Hugh Laurie gave a hilarious performance as the sardonic and long-suffering Mr. Palmer, Mrs. Jennings’ other son-in-law. And I must say that Imogen Stubbs also impressed me by her subtle performance as the cunning and manipulative Lucy Steele, who seemed to have a claim for the same man that Elinor Dashwood longs for.

Speaking of Elinor Dashwood’s love, I finally come to the two performances that had failed to impress me. One of them belonged to Hugh Grant. He portrayed Edward Ferrars, one of Fanny Dashwood’s brothers that happened to be in love with Elinor and is claimed by the manipulative Lucy Steele as her fiancé. Remember his charming, yet modest performance in the hit 1994 comedy, "FOUR WEDDINGS AND A FUNERAL"? Well, his Edward Ferrars turned out to be an early 19th century version of that particular role. Grant simply gave the same performance, but with more stuttering and well . . . the same charm. What had been fresh and original in 1994, ended up as old news a year later in "SENSE AND SENSIBILITY". Fortunately, he managed to create strong chemistry with both Thompson and Emilie François, who portrayed the young Margaret Dashwood. And he managed to inject a good deal of subtle wit into his portrayal of the low-key Edward. But the one performance that really did nothing for me belonged to Imelda Staunton. She portrayed Charlotte Jennings Palmer, Mrs. Jennings’ daughter and Mr. Palmer’s wife. Now I am a fan of Stauton, but I cannot say the same about her portrayal of Charlotte Palmer. I realize that the character was supposed to be annoying, but one could say the same about Sir John and Mrs. Middleton. But whereas I found Robert Hardy and Elizabeth Spriggs’ performances amusing and rather funny at times, Staunton’s slightly over-the-top portrayal of Charlotte Palmer ended up irritating the hell out of me. 

I understand that Andrew Davies had produced his own version of the Austen novel back in 2008. I cannot deny that the three-part miniseries is first rate. There are two other adaptations of Austen's 1811 novel that I have enjoyed. However, I still believe that this particular version is superior. It came as no surprise to me that it earned seven (7) Academy Award nominations and won one (1) for Thompson’s Adapted Screenplay. ”SENSE AND SENSIBILITY” is one movie I could watch over again without ever getting tired of it.

"SENSE AND SENSIBILITY" (1995) Photo Gallery

Below are images from "SENSE AND SENSIBILITY", the 1995 adaptation of Jane Austen's 1811 novel. Directed by Ang Lee, the movie starred Emma Thompson and Kate Winslet: 

"SENSE AND SENSIBILITY" (1995) Photo Gallery

"RETURN TO CRANFORD" (2009) Review

"RETURN TO CRANFORD" (2009) Review

Due to the success of the 2007 miniseries, "CRANFORD", the BBC aired a two-part sequel called "RETURN TO CRANFORD" (also known as the "CRANFORD CHRISTMAS SPECIAL"), some two years later. Like the original miniseries, it was adapted by Heidi Thomas and directed by Simon Curtis. 

"RETURN TO CRANFORD" was based on material from Elizabeth Gaskell’s two novellas and a short story - "Cranford","The Mooreland Cottage", and "The Cage at Cranford", were all published between 1849 and 1863. Also, themes from"My Lady Ludlow", "Mr. Harrison's Confessions", and "The Last Generation in England" were included to provide continuity with the first miniseries. The new miniseries took place between August and December 1844. The citizens of Cranford find themselves facing major changes in their society, as the railroad continues to be constructed near the edge of town. In fact, I was surprised to learn that a great deal of the story surrounding the new railroad was not in any of Gaskell’s novellas and short story. Only the storylines featuring about Mrs. Jameson’s (Barbara Flynn) cousin, Lady Glenmire (Celia Imrie) and Captain Brown (Jim Carter), Miss Pole’s (Imelda Staunton) Parisian “cage” for her pet cockatoo, and a magician named Signor Brunoni (Tim Curry) putting on a show came from Gaskell’s works. 

I have to be frank. It did not bother me that most of the material featured in the miniseries did not come from any of Gaskell’s novellas and short stories. Thanks to some decent writing by Heidi Thomas, I believe that it all worked out fine. Unlike the 2007 miniseries, "CRANFORD", the screenplay for "RETURN TO CRANFORD" seemed tighter and more focused. In fact, I noticed that the majority of major storylines featured in the miniseries have ties to the main story about the railroad’s construction. Because of this, "RETURN TO CRANFORD" avoided the episodic style of storytelling that I believe marred "CRANFORD". My favorite storyline featured the budding romance between two newcomers to the town of Cranford – William Buxton (Tom Hiddleston), the Eton-educated son of a salt baron (Jonathan Pryce) and Peggy Bell (Jodie Whittaker), the daughter of a less-affluent widow (Lesley Sharp). Mr. Buxton wants William to marry his ward, the Brussels-educated Erminia (Michelle Dockery). But neither are interested in each other. And Peggy has to deal with her ambitious and greedy brother, Edward (Matthew McNulty), who dislikes William. What I liked best about"RETURN TO CRANFORD" was that most of the storylines were tied to the new rail line being constructed near Cranford - even the William/Peggy romance.

As much as I hate to admit it, "RETURN TO CRANFORD" had its problems. Another storyline featured the problematic pregnancy suffered by Miss Matty’s maid, Martha Hearne (Claudie Blakley). The problem arose, due to the lack of doctors in Cranford. And I found this confusing. The 2007 miniseries ended with two doctors residing in the town – the recently married Dr. Frank Harrison and longtime resident Dr. Morgan. A year later, both no longer resided in Cranford and Heidi Thomas’ script never revealed their whereabouts or fate. Thomas’ real misstep featured the death of Lady Ludlow (Francesca Annis) and the arrival of her ne’er-do-well son, Septimus (Rory Kinnear). The latter’s attempt to cheat young Harry Gregson (Alex Etel) out of the money he had inherited from the late Mr. Carter was a poorly conceived and written storyline. And despite the built-up, it failed to have any real impact upon the Harry Gregson character, due to its vague ending. As much as I found Signor Brunoni’s Christmas show rather charming, I thought it also reeked of a sentimentality that made my teeth hurt. Especially when Miss Matty’s reunion with Jem Hearne (Andrew Buchan) and his daughter entered the picture.

The production design for "RETURN TO CRANFORD" was top notch as ever. And Alison Beard’s supervision of the costumes proved to be just as first-rate as Jenny Beavan’s work in the 2007 miniseries. The cast continued its first-rate work from the previous miniseries – especially Judi Dench as Miss Matty Jenkyns, Imelda Staunton as town gossip Octavia Poole, Francesca Annis as the aristocratic Lady Ludlow, Emma Fielding as her assistant Laurentia Galindo, Alex Etel as Harry Gregson, Julia McKenzie as Mrs. Forrester, Jim Carter as Mr. Brown, Alex Jennings as the Reverend Hutton and Barbara Flynn as the pretentious Mrs. Jamieson. But the newcomers that impressed were Tom Huddleston as William Buxton, Jonathan Pryce as the tyrannical Mr. Buxton, Jodie Whittaker as Peggy Bell, Celia Imrie as the earthy Lady Glemire and Tim Curry as the warm-hearted magician Signor Brunoni.

For a while, I had been reluctant to watch "RETURN TO CRANFORD". Because it was a sequel to the 2007 miniseries, I figured that it could never be as good as "CRANFORD". I was wrong. I do not know if I would consider it better than the first miniseries. But the latter is certainly not better than the sequel. And ”RETURN TO CRANFORD” does have one major advantage . . . namely Heidi Thomas’ screenplay turned out to be more tightly written, due to her decision not to use much of Elizabeth Gaskell’s material. Personally, I find that rather ironic.

"RETURN TO CRANFORD" (2009) Photo Gallery

Below are images from "RETURN TO CRANFORD", the 2009 sequel to the 2007 miniseries, "CRANFORD". Judi Dench starred in this two-part series: 


                                        "RETURN TO CRANFORD" (2009) Photo Gallery

"TOWARDS ZERO" (2007) Photo Gallery

Below are images from "TOWARDS ZERO", the 2007 adaptation of Agatha Christie's 1944 novel.   The movie starred Geraldine McEwan as Miss Jane Marple:

"TOWARDS ZERO" (2007) Photo Gallery