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Harry Barnett is a failed businessman who used to run a garage until he went bankrupt. He is now living on the island of Rhodes, looking after the villa of a friend, Alan Dysart, a former government minister. After Heather Mallender, a young woman who is staying at Dysart's villa, goes missing, Harry is accused of her murder. He is determined to prove that she is still alive and to discover why she has vanished. He returns to England and, armed only with a set of photographs that she took, retraces her steps. In doing so, he gradually uncovers a conspiracy which implicates Dysart in the murder of Heather's sister. Written by
Martin Underwood <firstname.lastname@example.org>
Original author Robert Goddard was not impressed with the adaptation of his novel. In an interview, he said "The TV version of Into the Blue was a travesty of the story I wrote and I am determined that any future adaptations should be more faithful to the original". See more »
While a bit of Inspector Morse comes through, Thaw pulls it off with a working class persona. We get to follow him through his investigation, and this is the most appealing type of mystery for me. Thaw's Harry Barnett is as tenacious as is his Morse (created by novelist Colin Dexter). Harry is driven mostly by two forces, his attempt to disprove his involvement in a disappearance of a woman and his lifelong relationship with a wealthy former politician, Alan Dysart. But the more questions he asks, the more questions arise about his longtime friend. The connection between the very beginning of the film and its ending works, provides an added twist (there is one right before the end as well), and brought the (film) story full circle, including the exchange of an important gift between two main characters (Barnett and Dysart), bound together through life experiences. You will not be disappointed.
As an author of mystery novels and an observer of the two industries (print & film), the media are so different that I often discount the "it did not follow the book" criticisms. Most viewers of the film never have nor ever will read the novel. We writers need to bank the movie checks and move on to the next book.
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