Emily Boynton, step-mother to the three Boynton children and mother to Ginevra, blackmails the family lawyer, Jefferson Cope, into destroying a second will of her late husband which would ... See full summary »
A boat has been destroyed, criminals are dead, and the key to this mystery lies with the only survivor and his twisted, convoluted story beginning with five career crooks in a seemingly random police lineup.
A congressman's daughter under Secret Service protection is kidnapped from a private school by an insider who calls Det. Alex Cross, sucking him into the case even though he's recovering from the loss of his partner.
Parisian murder detective commissioner Pierre Niemans is called to Gueron, a self-sufficient, prestigious university in a mountain valley, to investigate the murder on 32-year old professor... See full summary »
Based on the novel by Agatha Christie. The year is 1953. The small English village of St. Mary Mead, home to Miss Jane Marple, is delighted when a big American movie company arrives to make a movie telling of the relationship between Jane Grey and Elisabeth I, starring the famous actresses Marina Rudd and Lola Brewster. Marina arrives with her husband, Jason, and when she discovers that Lola is going to be in the movie with her she hits the roof as Lola and Marina loathe each other on sight. Marina has been getting death threats and at a party at the manor house, Heather Babcock, after boring Marina with a long story, drinks a cocktail made for Marina and dies from poisoning. Everybody believes that Marina is the target but the police officer investigating the case, Inspector Craddock isn't sure so he asks Miss Marple, his aunt, to investigate... Written by
Lee Horton <Leeh@tcp.co.uk>
The film's title 'The Mirror Crack'd' was abbreviated from its source Agatha Christie novel which was 'The Mirror Crack'd from Side to Side' though some editions of the novel have been published with the shorter title. See more »
When Jason Rudd is trying to find a pulse on a victim's neck, their eyes move although they are supposed to be dead. See more »
[to Lola Brewster]
What are you supposed to be, a birthday cake? Too bad everybody's HAD a piece.
See more »
This is the film that launched Angela Lansbury's career as a television sleuth. The character she began playing four years later was much the same as the one she plays here - and it's not Miss Marple. Not that purists have any right to complain. Agatha Christie's Miss Marple isn't really Miss Marple, either. Miss Marple first appeared in "Murder at the Vicarage" (published 1930), and I can't help thinking of the character in that book as the REAL Miss Marple: a transparent, almost pathologically nosy woman who thoroughly enjoyed prying for its own sake, who as capable of solving mysteries because she was unable to rest so long as there was potential gossip she didn't know about. She wasn't a saint, she wasn't an inspired guesser, and she wasn't wise.
Almost immediately, though (in "The Tuesday Club Mysteries", published 1932), Miss Marple transformed into someone who WAS saintly, inspired and, worst of all, wise, and it's this latter, less agreeable Miss Marple that dominates the subsequent novels. What obligation does anyone else have to be authentic, if Agatha Christie herself wasn't? So far as I'm concerned the character is now fair game for any revisionist interpretation whatever; and if so, give me Angela Lansbury's energy over Joan Hickson's "authenticity" any day. ...Strange, then, that the film doesn't really work. The puzzle itself is a real humdinger - one of Christie's very best, in my opinion - and the denouement is handled very well. But there's something bookish and stifled about everything leading up to it. Most Christie adaptations have a similar plodding quality (notable exceptions: Billy Wilder's "Witness for the Prosecution", Sidney Gilliat's "Endless Night", and people who have seen René Clair's "And Then There Were None" think highly of that, too) - there's an AIR of excessive fidelity to the book, even when quite a few details have been changed.
One problem unique to this one is the set of laboured jokes at the expense of 1950s Hollywood - at least, the jokes WANT to be at the expense of 1950s Hollywood, but I think they come from "My Big Book of 1000 One-Liners", or some such.
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