Le Mystère des Sables

It is needless to say that the book is much better. It's a real classic spy story. But the movie adaptation was quite a surprise. It obeys the storyline of the book, but: (1) the first part of the novel is totally left out; and (2) the last 15 minutes are in many ways somewhat different from the novel. Nevertheless, these changes are quite understandable: they make the movie more agile, more suitable for the screen.

The main characters are very faithful to the novel. British actors are very good, well casted and well characterized. German actors are somewhat stereotyped, but go along. Fighting scenes, more often than in the book, could have been better performed. Scenery is beautiful.

For a 1979 movie, I should say it deserves a seven. Had it been filmed in the 21st Century, I think it could have another 20 to 30 minutes – so as to better explore the feelings of the main characters (as the book does in its first part).

In 1901 English amateur yachtsman Arthur Davies is exploring a chain of islands off the German coast, attempting to update navigation charts for the area in which treacherous sandbanks abound. He becomes suspicious of a mysterious German called Dollmann, who apparently is running a salvage operation on one of the islands, and does not welcome Davies' interest in his activities. Davies summons the help of his friend Charles Carruthers, who works in the Foreign Office, to get to the bottom of the curious goings on.

This is an admirable attempt to film Erskine Childers classic novel. It manages to combine the laid back feel of amateur yachting with an intriguing mystery. Simon McCorkindale and Michael York blend together very well as the two English gentlemen turned amateur sleuths. They are complimented by the excellent and much missed Alan Badel as the sinister Dollmann, and Jenny Agutter as his daughter Clara. Much of the film's appeal is due to the exquisite cinematography of veteran Christopher Challis. He manages to evoke a strong sense of time and place with good location work, and is helped in this by solid production design and an enchanting musical score. My only real criticism is that sometimes the suspense sequences could have been more tightly constructed without compromising the genteel atmosphere of the piece.

It would be nice to see this appear on DVD at sometime in its original 2.35:1 aspect ratio to really appreciate the photography (BBC2 do at least broadcast it in 1.78:1). However, the film was produced by Rank, and I fear that Carlton will hold the distribution rights. Anyone who has ever purchased one of their DVDs will attest to the utter contempt that they appear to have for the format. Films are usually released in 1.33:1 full frame no matter what their original ratio, and in the case of 'The Eagle Has Landed' there are also some 12 minutes of the film missing! With these points in mind it doesn't bode well. If you haven't seen 'The Riddle Of The Sands' try and catch it next time round on TV. You may be pleasantly surprised by it.

It's probably impossible to transfer the cozy atmosphere of Erskine Childers's book to the screen, but Maylam's attempt is a creditable one. The Dutch and German villages, the sand banks, the coastline, all in muted browns and greys, look every bit as dull as you'd expect them to, but we begin to see their attraction; and something of the feeling of day-to-day life on a boat is conveyed to us. A nice score by Howard Blake helps give us the measure of things.

It's what we COULD have expected to survive transition to the screen - excitement - that's most really lacking. Childers's novel was (so everyone says) the first modern spy story. In addition to a love of the sea it also conveys a sense of menace, a feeling that something of importance hangs on the riddle of the sands, which the film, blandly paced and having to resort now and then to first-person narration, doesn't. It's still pleasing enough, especially if you've read the book and the film isn't giving away any of its secrets.

Not popular on its small first release this wonderful and genuinely beautiful thriller is great adventure and well cast. Set in 1901 off the sandbanks near the Fresian Islands near Brussells/Germany /Holland RIDDLE is an atmospheric foggy 'chums in peril' mystery with a spunky cast and sublime and eerie sailboat thrills. The woolly jumpers alone should have won an award! York and MacCorkindale are almost interchangeable but the always gorgeous Jenny Agutter is as usual irreplaceable and perfect. MacCorkindale even leaps overboard one morning all nude, just to liven up the visuals! Filmed in panavision this really suffers on TV and deserves a DVD release to allow a whole new generation to soak up what is a generally unappreciated but lovely sailing thriller. The art direction and atmosphere is so accessible it is almost enough reason to just let yourself sail away. It is one of my favorite films and patient viewers will be well rewarded. It seems to be screened constantly on late night Australian TV, and even has an extra scene early in the film as Michael York arrives by train. RIDDLE OF THE SANDS is one of the most absorbing and beautiful Edwardian/Victorian era films made in Britain in the 70s.

The book is an absolute classic, but it is not a very easy one to adapt at all. While not quite succeeding, Riddle of the Sands is a very solid film. It is quite slow in places and the actor playing Kaiser is very wooden. However, the film is beautifully shot, with striking locations, interesting fashions and exquisite photography. Howard Blake's haunting score compliments the mood of the film brilliantly and the story and the script are very interesting. The sailing scenes are excellently done, and there is a fine cast, excepting Kaiser. Michael York and Simon McCorkindale are excellent, actually in regards to McCorkindale I don't think I have seen him this good before, while Alan Badel is appropriately sinister and Jenny Agutter provides an emotional weight that wasn't there in the book but was welcome here. So all in all, solid and worth watching. 8/10 Bethany Cox