Third Girl
- Épisode diffusé le 22 juil. 2009
- TV-14
- 1h 33min
NOTE IMDb
7,7/10
2,1 k
MA NOTE
Ajouter une intrigue dans votre langueAfter a seemingly neurotic young heiress tells Ariadne Oliver and Poirot that she thinks she may have killed someone, her ex-nanny is found with her wrists slashed.After a seemingly neurotic young heiress tells Ariadne Oliver and Poirot that she thinks she may have killed someone, her ex-nanny is found with her wrists slashed.After a seemingly neurotic young heiress tells Ariadne Oliver and Poirot that she thinks she may have killed someone, her ex-nanny is found with her wrists slashed.
Caroline O'Neill
- Nanny Lavinia Seagram
- (as Caroline O'Neil)
Histoire
Le saviez-vous
- AnecdotesLook closely and you'll see a painting in the artist's studio that was used fifteen years earlier in Dead Man's Mirror (1993).
- Citations
Sir Roderick Horsfield: Hell is the truth learned too late.
- ConnexionsVersion of Les petits meurtres d'Agatha Christie: Crimes haute couture (2017)
Commentaire à la une
S11E3: Third Girl: Comes together in the end, but the structure worked against me – although the involvement of Wanamaker's Oliver livens it up
Norma Restarick is the third girl in a flat sharing arrangement, and she comes to the attention of Poirot when she comes looking for help with a murder she committed – although she leaves before she can elaborate. Turns out the contact came via friend Ariadne Oliver, who fills in some of the details from a party she attended in the girl's flat the night that Norma found herself standing over the body of a former nanny (who lives in the same block), with a knife in her hands. Although it appears a suicide, Norma's confession is puzzling, and Poirot begins to look into the proceedings.
Third Girl comes after the very enjoyable episode of Cat Among the Pigeons, which has great color and structure to it, making a satisfying mystery. Perhaps following one so closely from the other did not help this film by comparison, because it was the structure of the telling of this one that limited me. I should be more flexible maybe, but the way that the story unfolds rather distracted me because there seemed to be too much going on that felt detached from other things – so I ended up wondering what thread to following, what is the connection, and is there even a connection to begin with? Perhaps this was me, but at times I struggled to follow the connections – particularly where they really amounted to nothing. This is not usual – to have dead ends or red herrings, but here I thought the delivery did not keep me close to the core but rather made it hard to see where the core was. Towards the end it does come together well, although due to the delivery it doesn't always link back quite as neatly and satisfyingly as I would have liked, but it does still work as a finale.
The delivery as a production is hard to fault because it looks great; the sense of time and place is very well done, and the cinematography and direction are very classy and precise – no distracting soft focus or fuzzy presentation here. The cast match this; Suchet not only doing good work (with very convincing rage towards the end) but also working well again with Wanamaker. I confess I miss the characters of Hastings, Japp, and Lemon, but it is hard to actually feel their absence when the films delivery good leads and some good supporting turns such as Oliver. Rooper works her character well, despite how variable and unstable she is; Burton-Hill, Sturridge, Liemann, and Mison are all good in support, while Bowles provides the bigger name cameo.
Third Girl is not a weak film in the season – it is far too professionally produced for that, but it does have issues in the construction of the narrative that really work against me getting drawn into it. In the end it all comes together and produces an engaging resolution, but not quite as satisfying as the ones that make you realize all of the clues were right there in front of us all along.
Third Girl comes after the very enjoyable episode of Cat Among the Pigeons, which has great color and structure to it, making a satisfying mystery. Perhaps following one so closely from the other did not help this film by comparison, because it was the structure of the telling of this one that limited me. I should be more flexible maybe, but the way that the story unfolds rather distracted me because there seemed to be too much going on that felt detached from other things – so I ended up wondering what thread to following, what is the connection, and is there even a connection to begin with? Perhaps this was me, but at times I struggled to follow the connections – particularly where they really amounted to nothing. This is not usual – to have dead ends or red herrings, but here I thought the delivery did not keep me close to the core but rather made it hard to see where the core was. Towards the end it does come together well, although due to the delivery it doesn't always link back quite as neatly and satisfyingly as I would have liked, but it does still work as a finale.
The delivery as a production is hard to fault because it looks great; the sense of time and place is very well done, and the cinematography and direction are very classy and precise – no distracting soft focus or fuzzy presentation here. The cast match this; Suchet not only doing good work (with very convincing rage towards the end) but also working well again with Wanamaker. I confess I miss the characters of Hastings, Japp, and Lemon, but it is hard to actually feel their absence when the films delivery good leads and some good supporting turns such as Oliver. Rooper works her character well, despite how variable and unstable she is; Burton-Hill, Sturridge, Liemann, and Mison are all good in support, while Bowles provides the bigger name cameo.
Third Girl is not a weak film in the season – it is far too professionally produced for that, but it does have issues in the construction of the narrative that really work against me getting drawn into it. In the end it all comes together and produces an engaging resolution, but not quite as satisfying as the ones that make you realize all of the clues were right there in front of us all along.
utile•82
- bob the moo
- 19 avr. 2015
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Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langue
- Lieux de tournage
- Wrotham Park, Barnet, Hertfordshire, Angleterre, Royaume-Uni(as Crosshedges, the Restarick family's country estate)
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
- Durée1 heure 33 minutes
- Couleur
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