AND THEN THERE WERE NONE BBC ADAPTATION

TuppenceTuppence City of London, United Kingdom admin
With the UK TX date for And Then There Were None just three days away, we are interested to hear what you are hoping to see in this brand new adaptation?
Any questions? Please email generalenquiries@agathachristie.com
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Comments

  • GriseldaGriselda ✭✭✭✭
    You have been hearing, haven't you? We've been posting comments and suppositions for weeks. Have a scroll back. 

    Read an interesting article, just now, on The Telegraph online. The author talks about Christie's determination to confront and detail instances of evil. Apparently, she saw many instances of it in her own lifetime. Talking of style, the journalist says that And Then There Were None 'is quite unlike other Christies.' ' Nowhere else does she achieve the same 'schematic distillation'. Crikey. I thought we were erudite with our 'axioms' and literary references. We've obviously got a long way to go.
  • GriseldaGriselda ✭✭✭✭
    I'm going to find this adaptation chilling and scary, because the story is terrifying. I'd like to see some first rate acting. A real bonus is if a great actor for Agatha Christie can be found. I think they used the girl from The Sittaford Mystery in more than one dramatisation. The actor who played the journalist in The Sittaford Mystery is superb, and has featured in various other productions, detective mysteries such as Midsomer Murders, and also a Thomas Hardy. So good actors who can be used again in AC dramas is what I'd like.

    I don't agree with taking justice into one's own hands, so I'm not going to enjoy the denouement, or find satisfaction in the outcome. 
  • MarcWatson-GrayMarcWatson-Gray Dundee City, United Kingdom ✭✭✭
    If it captures the essence of the book,the excitement,the puzzlement,the anger,the indignation,the tension,fear,and finally (for some )the resignation,then i'll be happy !!
  • martin223martin223 Levoca, Slovakia Investigator
    New Agatha Christie, it's always a very special occasion, simply to say it's a feeling even when it's the adaptation of "And Then There Were None". So we can really wait for the ten strangers in ten parts ... 
    Martin Kokavec
  • GriseldaGriselda ✭✭✭✭
    Having read some of Wikpedia on And Then There Were None, to remind me of the plot (I don't keep the novel at home - too scary) I was struck by two things. I wonder if Vera Claythorne was a type of individual Agatha Christie knew, and used as a template for the character of Mrs Redfern in her 1941 novel, Evil Under the Sun. I wonder if the central premise of Priestley's play of 1945,  'An Inspector Calls', may have been influenced by Miss Trent's (or is it Brent?) story in ATTWN. The spinster  treats a maid who has fallen pregnant callously, and in doing sets up a chain of events in the girl's life which lead to her sad and lonely death. The idea of indirect responsibility for another's suffering is Priestley's theme. SPOILER ALERT. It is interesting in ATTWN to see Christie selecting murders which are indirect, or mitigated in some way by circumstances. We are used to novels by her which deal with clear cut murder for gain, and a murderer, a weapon and a victim. In ATTWN, we see her creating a hierarchy of culpability, which she arrives at, it seems, via a process of complex moral evaluation. To decide, for instance, that Vera must die last, because she is the worst, takes delicate moral discrimination. I notice that, to the character of Lombard himself, stealing food when you will die otherwise must mitigate the seriousness of the offence. To Christie, no. What is she thinking: does she think that if you feel hunger yourself, you must know what your fellow men will feel when you take their food? Does she think a soldier must be brave and hardy, and find his own food? Does she think that the big crime he commits against humanity is to disparage members of another community as being different to himself,  ie, their sensibilities are different? The young play boy gets off lightly with an early death, and no lengthy psychological torment. Is she making allowances for him on account of his youth? Tali has often written about an evolution in the development of Christie's ideas, and about her accepting modern conventions and propositions. I am feeling now that ATTWN marks a kind of acceptance on her part of moral relativism, and the fact that experiences contribute to a person's moral code. I would always previously said - based on comments by characters in Mrs McGinty's Dead - that she was a nature over nurture person. I see now that she like to think deeply about what makes up human goodness and worth - and she does make her own allowances.
  • I admit I only read ATTWN once, and didn't want to read it again - I don't like scary, predetermined bad endings. But I do think that the premise of the book - people who caused other people's death but weren't or couldn't be punished by the law, allowed Agatha Christie a lot more freedom in defining responsibility for another person's life and death. In the same way SPOILER!!!! in Curtain, the villain isn't a murderer by law - he never laid hands on anybody - though he is responsible for multiple deaths, and he is brought to justice outside the framework of the law. It is easier for us to accept "taking the law into one's hands" in "Curtain", because the justification for it is not justice or revenge but rather protecting the villain's future victims, but in both cases, moving outside the law allows for more subtleties in defining crime. 
  • GriseldaGriselda ✭✭✭✭
    I wonder why Agatha Christie found this her hardest novel to write. It seems easy on the face of it. No changes of scene,  as in Three Act Tragedy, nor time lapse going back to a a murder which is cold case, as in Five Little Pigs. ( The back stories in ATTWN are old, but the murders which hook and engage the action happen in natural enough sequence.) Not too many red herrings. Sittaford Mystery must have been hard to write with that unbelievable plot around Violet and her mother. A Murder is Announced must have been hard with the complicated Goedler family history - which, because we barely meet these characters - is so hard to make  interesting. The ABC Murders the hardest, I'd have thought, with the SPOILER 'dual' murderer - assumed and real. I think it was deciding on whose crime was most callous, and who should be spun out to the end, that made writing ATTWN hard.
  • Christopher_WrenChristopher_Wren Nordrhein-Westfalen, Germany ✭✭✭
    I think And then there were none was hard to write, because Christie gave us insight into the characters thoughts without revealing the murderer. That's incredibily difficult.
  • GriseldaGriselda ✭✭✭✭
    I suppose Cards on the Table has a similar idea: people with a guilty secret.
  • Tommy_A_JonesTommy_A_Jones Gloucestershire, United Kingdom ✭✭✭✭
    It must be me, I don't find the Book scary and it doesn't give me a disturbing feeling unlike The Crooked House and to some extent Ordeal By Innocense and Taken At The Flood perhaps I am desensitized by it. I don't think all the Crimes were In-direct, wasn't The Rodgers Crime Direct?
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