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And Then There Were None 

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Ten strangers are invited to an island by a mysterious host, and start to get killed one by one. Could one of them be the killer?


Agatha Christie
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Series cast summary:
Maeve Dermody ...  Vera Claythorne 3 episodes, 2015
Charles Dance ...  Judge Lawrence Wargrave 3 episodes, 2015
Toby Stephens ...  Doctor Edward Armstrong 3 episodes, 2015
Burn Gorman ...  Detective Sergeant William Blore 3 episodes, 2015
Aidan Turner ...  Philip Lombard 3 episodes, 2015
Harley Gallacher Harley Gallacher ...  Cyril Ogilvie Hamilton 3 episodes, 2015
Miranda Richardson ...  Emily Brent 3 episodes, 2015
Paul Chahidi ...  Isaac Morris 2 episodes, 2015
Sam Neill ...  General John MacArthur 2 episodes, 2015
Charlie Russell Charlie Russell ...  Audrey 2 episodes, 2015
Tom Clegg Tom Clegg ...  James Stephen Landor / ... 2 episodes, 2015
Noah Taylor ...  Thomas Rogers 2 episodes, 2015
Catherine Bailey ...  Olivia Ogilvie Hamilton 2 episodes, 2015
Ben Deery Ben Deery ...  Henry Richmond 2 episodes, 2015
Rob Heaps ...  Hugo 2 episodes, 2015


It's 1939 and Europe teeters on the brink of war. Ten strangers are invited to Soldier Island an isolated rock near the Devon coast in southern England. Cut off from the mainland, with their generous hosts Mr and Mrs U.N. Owen mysteriously absent, they are each accused of a terrible crime. As members of the party start to die one by one, the survivors realize that one of them is a killer and start to turn on each other. Written by BBC

Plot Summary | Add Synopsis


Agatha Christie's darkest thriller


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Official Sites:

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Release Date:

26 December 2015 (UK) See more »

Also Known As:

And Then There Were None See more »

Filming Locations:

Newquay, Cornwall, England, UK See more »

Company Credits

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Technical Specs


Sound Mix:




Aspect Ratio:

16:9 HD
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Did You Know?


This is the first time a major English adaptation of the story uses the surname MacArthur for the General (Sam Neill). The General's name was changed to either MacKenzie or Mandrake for the stage and early screen to avoid referencing WWII hero, General Douglas MacArthur. See more »


The inside of the house (an actual mansion used; Harefield Grove) does not accurate match the wide exterior shots (which uses a CGI mansion inspired by the real mansion). As a result, rooms in certain locations are inexplicable, if not impossible. Especially many of the bedrooms which are clearly reused for different guests. See more »

Crazy Credits

The opening credits removes an actor's credit when their character has been murdered. See more »

Alternate Versions

Originally aired as three 60-minute episodes on BBC1 in the UK. It was later re-edited into two 2-hour episodes for it's airing on Lifetime network in the US. See more »


Version of Au théâtre ce soir: Dix petits nègres (1970) See more »

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User Reviews

Not so much a whodunit as an examination of guilt and the possibly (or lack thereof) of redemption.
3 January 2016 | by sagitario6491See all my reviews

When first published near simultaneously in the UK & USA at the end of 1939 beginning of 1940 "And Then There Were None" - as the book was titled for the American market – was acclaimed as a breakthrough by aficionados and critics alike of the murder mystery genre. Agatha Christie had broken many of the unwritten narrative storyline rules thought previously necessary for successfully writing a murder mystery. Rules that she herself used when writing. Such as ... The need for a detective character on hand to help solve the mystery for the reader ... The need for opposing protagonists – every character is a protagonist in the assembled cast ... The need to illicit sympathy from the reader for the plight of some of her characters - not a necessary requirement when all are guilty ... Other than the ending, the need for surprise – from the outset all concerned are made aware of their fate ... The need to provide either true or false clues / hints – no need to do so when there is no detective character on hand to interpret them for the reader.

Indeed, Agatha Christie wrote in her autobiography … "I had written the book And Then There Were None because it was so difficult to do that the idea had fascinated me. Ten people had to die without it becoming ridiculous or the murderer being obvious. I wrote the book after a tremendous amount of planning, and I was pleased with what I had made of it. It was clear, straightforward, baffling, and yet had a perfectly reasonable explanation; in fact, it had to have an epilogue in order to explain it. It was well received and reviewed, but the person who was really pleased with it was myself, for I knew better than any critic how difficult it had been. I don't say it is the play or book of mine that I like best, or even that I think it is my best, but I do think in some ways that it is a better piece of craftsmanship than anything else I have written."

While having few equals when creating narrative story lines, critics of Agatha Christie (myself included) have frequently pointed to her use of stereotype one-dimensional characters. This becomes particularly evident when her work is adapted for the three- dimensional medium of film and TV thereby removing the need for a reader's imagination. Though spread over a mere 272 pages, the book And Then There Were None avoids the need for detailed characterisation because of such a strong narrative plot that drives the story along ably supported by a relatively large ensemble cast. However, this particular filmed TV version still felt the need to support certain characterisations by the liberal use of flashbacks which I found irritating at times. But then again, this was done inform viewers coming to the story for the first time and not for the benefit of those familiar with the book and / or previous adaptations.

Being that there have been a fair few attempts in the past to put variations of And Then There Were None on film. Though this is first time a faithful-to-the-book English language version has been filmed. Previous efforts have tended to pass-over or attempt to mitigate away certain unsavoury aspects of the characters while sanitising elements of the ultimately doom-laden outcome of the story. It could be argued that this particular version is somewhat bleaker and leaves less to the viewer's imagination than that of the book. It certainly comes across as more graphic than other gentler adaptations I have seen.

In particular, Charles Dance (as Judge Wargrave) and Burn Gorm (as former policeman William Blore) play malevolent menace better than most. While not previously aware of Australian-born Maeve Dermody (as Vera Claythorne), she convincing plays the conniving femme fatale character – methinks a good piece of casting. Though in all honesty, one could have cast any good looking actor as Philip Lombard, the ne'er-do- well soldier of fortune. I suspect Aidan Turner got the part because of his popularity with female viewers as the titular lead of the current TV series Poldark and, very much a blatant casting appeal to pull in a female audience. A little gem of a performance was that of Anna Maxwell Martin as the timidly dominated servant and cook Mrs Rogers. Unfortunately for her, she was not required to hang around for too long being the second of the 10 to be bumped off – but, what she called on to do, she made the most of.

The somewhat disappointing omission for me that appears at the end of the book but was left out of this adaptation was the epilogue. While Agatha Christie felt the need to add an epilogue as an explanatory device for the reader, I suspect the use of flashbacks negated the need to visually include it. That minor gripe aside, if anyone can do a better filmed telling of this complex and much applauded murder mystery in less than three hours of screen time then I can't wait to see it.

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