ORDEAL BY INNOCENCE/ AGATHA CHRISTIE’S ORDEAL BY INNOCENCE

UK, 2018, 165 minutes, Colour.
Bill Nighy, Anna Chancellor, Morven Christie, Matthew Goode, Luke Treadway, Alice Eve, Morven Christie, Anthony Boyle, Christian Cooke, Crystal Clark, Ella Purnell, Eleanor Tomlinson, Brian Mc Ardle.
Directed by Sandra Goldbacher.

Ordeal by Innocence had been filmed in the 1980s with a very strong star cast led by Donald Sutherland, Christopher Plummer, Sarah Miles and Faye Dunaway in the role of the murdered mother. It received poor reviews. This version had mixed reviews – Agatha Christie devotees upset that the screenwriter had taken title and characters and developed different aspects of plot, ordinary audiences, on the other hand, thinking that it was quite effective.

The film has the advantage of three episodes for a television series, having time to develop most of the characters, filling in their backgrounds, using the technique of flashbacks and brief suggested glimpses of the past to give more information about the characters and their motivations.

The film begins with the murder of the philanthropist mother of adopted children, played strongly by a haughty Anna Chancellor. At her death, the maid, Morven Christie, is consoled by the dead woman’s husband, Bill Nighy. Almost immediately, the youngest adopted son of the family is blamed, arrested, interviewed by his father in prison who denounces him, but is then found dead in prison and returned home for burial.

After year and a half, the husband is about to marry again (a very bossy and offputting Alice Eve) and the young accused is given an alibi by Dr Calgary (Luke Treadway) who claims to be a scientist. While, it emerges that he has not been telling the exact truth, he does give the accused an alibi – which means, of course, the various suspects, all of whom could have good reasons for the murder, the husband, his new wife, the devoted maid, the local policeman, the former adopted children, the husband of the oldest. Plenty to choose from.

The screenplay diverts some attention from the actual killer – but there is a chilly final sequence with the killer unmasked and punished.

Director, Sandra Goldbacher made two features, The Governess and Me Without You but has spent most of her career directing television.

1. The popularity of Agatha Christie novels, film and television adaptations? This film’s title, the names of the characters – the screenwriter developing plot differences? For devoted Christie fans? For the ordinary audience?

2. The 1955 setting, the mansion, the grounds, the interiors, bedrooms, offices, the bunker? The roads, mental institutions, cafes in town, the background of the Korean War? The background of World War II? Postwar England? The musical score?

3. The screenplay, the narrative of the murder, the opening, the visuals, suggestions? The recurring scenes of the murder? The third act and the whole development of what happened on Christmas Eve, all the characters, their involvement, the secrets, truth and lies?

4. The Impressionism of the narrative? The focus on characters, glimpses of flashbacks, punctuating the narrative, giving more indications of characters, gradual revelations?

5. Rachel Argyle at the centre, Anna Chancellor’s screen presence, tall, demanding, private emotions, not wanting to be touched, yet adopting the children, wanting them to fill an emotional hole? Educating them, disciplining them, disappointed in them? Each in a different way? The portrait of a philanthropist but very demanding woman? The credibility of her being murdered?

6. Leo, the introduction, finding the body, comforting Kirsten, the discussion with the police, the arrest of Jack, his going to visit him in prison, accusing him, Jack spitting at him? The marriage to Rachel, her not having children, the adoptions, his relationship with the children? His relationship with Gwenda, the decision to marry her, the preparation for the wedding? The arrival of Arthur, his ousting him, the family disturbed by all the claimants? Arthur’s return, Leo’s being more gracious, listening? The buildup of his character, the revelation of the relationship with Gwenda, the children lining up, Kirsten with the instrument of death, the accusations? The final irony of Kirsten imprisoning him in the bunker, his seduction of her when she was young, the mother of Jack?

7. Kirsten, always present as the servant, going about her work, with the children as they grew up, diligent, the revelation about Jack, Leo’s seduction, Rachel promising to keep the secret, her revelation? Her finding Rachel wounded, screaming? Her presence at Jack’s funeral, tending his body? The confrontation with Leo, her imprisoning him?

8. The children, the scene of the younger three being adopted? Happiness, resentment? The growing up, going out to play with Kirsten? The classes, Michael and his inability to read? Hester at the piano? Jack and his being cheeky? Tina, the racial issue? Mary, the oldest, her continued resentment, wanting to be the only child, the consequences?

9. Jack, the police chief, the implication of sexual abuse? His wife, Jack and the seduction? His scoffing at people? Leo revealing the truth about Kirsten? Taken aback, going to the kitchen, with Kirsten, going out? His alibi with the anonymous driver? The importance of the time – and the visuals of the clock and the blood? Leo talking with the police chief, the delete forced taking of the fingerprints, his arrest, Leo talking in jail, the police chief and his revenge inventions, Jack being murdered in jail? The scene with the family at his coffin?

10. Michael, career, the effect, is injuring himself, the relationship with Tina, his harsh reaction to Arthur Calgary, seeing him in the hotel and threatening him? The revelation of his relationship with Tina? Jack spying on him? Rachel, her condemnation of him, Tina? Tina wanting the flat to live by herself? Her work? Rachel proud of her then turning against her? Hester, the piano, her leaving home, the affair, her pregnancy, Rachel coming to get her, paying off the man, bringing her home?

11. Mary, her marriage to Philip, his war record, marrying her for her money, his recklessness, drinking and gambling, the accident, breaking his back, exercising at home, his wheelchair, not joining the family gatherings, his seeing Arthur Calgary, the bribe and the suggestion to expose the family? His morphine? The ambiguities of Mary’s devotion to him? Mary, trying to plot with Michael to alienate Leo from Gwenda? His refusal? Mary, her resentment, wanting to be the only child? The impact of the death of her husband?

12. Philip, his war record, injury, cynical, the meal with Arthur? The overdose – and his being murdered?

13. Gwenda, imperious, criticising the servants, demands, the preparation for the wedding, her relationship with Leo, the revelation in flashback about Rachel serving for divorce, Leo impoverished, his action?

14. Arthur Calgary, the forlorn look, arriving, his explanation, the family upset, Leo ousting him, going to the hotel? The visit from Michael and threats? The dinner with Philip? Michael putting him on the train? His wanting to do the right thing, getting off the train, returning? The story about the Arctic, the fact that he wanted to go to the Arctic, had worked on the atomic bomb? Wanted to redeem himself? The asylum, his escape, driving the car, giving them a lift to Jack, being his alibi? The family supporting him, wanting to help him escape, Leo calling in the authorities and his being taken back to the asylum? The fact that the brothers and sisters came to see him in the asylum?

15. A portrait of a completely dysfunctional family, the control of the mother, the hypocrisy of the father, the difficulties with each of the children? Setting up all the possibilities for the murderer? The final unmasking? The image of the search for Leo in the water, Gwenda dressed for the wedding, the children in wedding dress? The irony of his being imprisoned?