En cherchant à découvrir pourquoi un millionnaire s'est retrouvé avec un faux diamant, Hercule Poirot débarque dans un hôtel exclusif sur une île fréquentée par le gratin de la société. Lors... Tout lireEn cherchant à découvrir pourquoi un millionnaire s'est retrouvé avec un faux diamant, Hercule Poirot débarque dans un hôtel exclusif sur une île fréquentée par le gratin de la société. Lorsqu'un meurtre est commis, tout le monde a un alibi.En cherchant à découvrir pourquoi un millionnaire s'est retrouvé avec un faux diamant, Hercule Poirot débarque dans un hôtel exclusif sur une île fréquentée par le gratin de la société. Lorsqu'un meurtre est commis, tout le monde a un alibi.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 1 nomination au total
Avis à la une
The distinction of a star-studded cast and an isolated milieu is too overt to be surprising, luckily enough the island itself compensates a mind-distracting delightfulness. Also it has been the third time around, so as that I am lucidly familiar with its plot design-pattern, the obvious target is farcically recognizable and the murderer is not so perplexing to guess, in addition that all the cartoonish characters attenuate the tone of the headlining murder, which I will recommend to those who usually are shunned by the murder/crime genre.
Speaking of its cast, I adore Maggie Smth, I am thoroughly enjoy her a touch over-the-top performance here, also Jane Birkin is magnificently multi-faceted (I couldn't recall her roll in MURDER ON THE ORIENT EXPRESS though). Diana Rigg and Sylvia Miles are perfectly for their roles as bitchy, bitter, vanity bourgeois women. By comparison the equivalent supporting male cast is being eclipsed wholesale, of which even a renowned James Mason cannot avoid.
Peter Ustinov's Pourot is cannily uncompromising with a sharp wit under the contrast of his chubby appearance (although my favorite is Albert Finney in MOTOE). I'm curious now Sherlock Holmes franchise has been resuscitated into somewhat bromance-cum-action flick, maybe it's the right time for Monseiur Pourot to reestablish his name as a genuine detective mind versus a lumbering body, let wisdom rules again!
There isn't one bad performance among the cast, several of whom have appeared before in at least one other Poirot story. Maggie Smith and Jane Birkin in Evil Under The Sun; Dennis Quilley and Colin Blakely in Murder On The Orient Express. Diana Rigg and Maggie Smith almost steal the show as two women who smile sweetly at each other as they spit venom! But every bit as good are Blakely, Quilley, Mason, McDowall and the rest. And while all this is going on, the soundtrack is solid gold Cole Porter, which has been orchestrated perfectly to fit the story.
This movie is pure fun. Make yourself comfortable, suspend disbelief and allow yourself to be transported to another era and location for a couple of hours of enjoyment.
The plot for some part is a little far fetched, but such is the quality of the writing and the mystery itself it doesn't matter in the slightest, for it to have worked the timings would have had to have been literally to the minute.
The characterisations are the strong point of the film. Ustinov made a brilliant debut in Death on the Nile, and he shows once again just how good he was in the role. Diana Rigg and Maggie Smith are wonderful in their respective roles in particular, both actually make their characters more interesting then they appear in the book, the interplay between the two is wonderful, so much fun. Nicholas Clay and Jane Birkin are fantastic also, her transformation is sensational, what a beauty!
It is a lavish looking film, the locations are sensational, and the costumes are superb, they really add a glamorous note to it, Rigg looks sensational in many scenes.
Overall 9/10. It's a great story, it's brilliantly acted, and the characters are just magical, it's hugely entertaining!
Le saviez-vous
- AnecdotesDespite not being in the original novel, early versions of the script included the character of Colonel Race, played by David Niven in Mort sur le Nil (1978). Niven was offered to return but had to decline due to his failing health.
- GaffesIn the film, Patrick Redfern was wearing swim briefs ("Speedos") on many occasions (suntanning on the beach, steering a motorboat with Myra Gardener on board), and it is suggested that, since the film was set in the 1930s or 1940s, that the male "overall" swimsuit was "norm", and the "Speedo" type suit was an anachronism. This is not true; by 1936 (after the Olympics) men started wearing one piece and much tighter fitting "Speedo" suits. The film is probably set before 1939 (the book was written in 1941), and by this time, fashionable and daring men would have worn this type of swimsuit, particularly to secluded getaways, such as the setting for the movie.
- Citations
Arlena Stuart Marshall: Oh, dear! I'm the last to arrive.
Daphne Castle: Have a sausage. You must be starving having to wait all that time in your room.
- Crédits fousThe opening credits feature watercolors by British architect and artist, Sir Hugh Casson, who taught King Charles III to paint. The titles for each actor feature an item of costume, prop or setting relevant to their character and those for the production team are similarly themed.
- Versions alternativesThe BBC have edited two scenes from the film for broadcast. The first is the scene where Arlena Marshall is discussing the proposed show with the Gardners, after Odell tells her that it is called "It's Not Right, and It's Not Fair", Arlena's next line, "Sounds like a black man's left leg" has been cut. The second is in the scene where Kenneth Marshall reveals to his wife that he knows she booked Patrick Redfern into the hotel. Her response, "The bitch Daphne!", is also cut.
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Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langues
- Aussi connu sous le nom de
- Muerte bajo el sol
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 10 000 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 6 110 000 $US
- Week-end de sortie aux États-Unis et au Canada
- 1 690 774 $US
- 7 mars 1982
- Montant brut mondial
- 6 110 804 $US