...e poi, non ne rimase nessuno

Excellent acting comparing to 2015 miniseries. Love the movie. I don't know how the 2015 miniseries has much better score than this.

Love Charles Aznavour piano scene.

I don't really understand why nobody likes this movie... I personally think it's awesome! I mean sure there is some bad acting, but I have not seen a version of TEN LITTLE INDIANS or AND THEN THERE WERE NONE that didn't have some bad acting. this movie is kinda like a well made B movie and a wonderful Version of Agatha Christie's book. I recommend this film to anyone who can find it (It took me years to find it and cost me fifty dollars.)

Agatha Christie's 1939 story idea captures the imagination. Ten strangers who each, in different ways, have gotten away with murder gather by invitation at an isolated mansion. Then their unknown host U.N. Owen systematically and mockingly murders them one by one. The idea was adapted into a film in 1945, 1965, 1974, and 1989. Unfortunately, neither Christie nor the filmmakers succeeded in turning this captivating but confining plot concept into a truly fulfilling story.

The book's premise is clever. Careful attention is paid to plot detail. Compared to the films, the book's assortment of past crimes and depictions of the characters' attitudes toward them are more varied, subtle, and interesting. The book is the least sentimental about the characters, treating them vaguely and suspiciously. It maintains more of a sense of intensity and purpose than the films. It details why and how Owen carried out the scheme.

However, once the book establishes its imaginative premise, the story becomes thin and formulaic. There is little plot or character development. The storytelling seems flat, frigid, and, at times, slow-paced. There is no lead character to care about. The characters and their past crimes are sketched in summary fashion, and vary widely in quality. There are only two real plot twists. The second creates a major logical problem, which the book acknowledges and tries to overcome by weakly suggesting that the ploy would trick or "rattle" the murderer. The guests' murders are designed to follow the nursery rhyme and little more. Some cosmetic frills aside, the killings show, in themselves, no special cunning, skill, strategic advantage, or plausibility. Owen strikes crudely without detection too effortlessly.

Worst of all, the book (and each film) has nothing serious to say about the powerful themes at the heart of the story. The story is inherently an observation of human nature in a desperate situation. How do the characters behave? How do they try to reason, to survive? Also by its very nature -- as the book's last pages show -- this is a morality play. How is each character a "criminal" and "beyond the law"? Does each get "justice"? Is justice the point, or simply a "lust" to torture and kill? Is the story about breaking the law or enforcing it, about mistakes or abuses in pursuing justice? None of this is meaningfully explored.

In some respects, the films are worse and better than the book. The lighthearted approach of the 1945 and 1965 adaptations is entertaining, but comes at the expense of the story's plausibility and seriousness. Characters confess their secrets and treat the horror unfolding around them as if it were a parlor game. The 1974 film took a decidedly different tone, for good and ill. Gone from both 1945 and 1965 is the comical opening sequence and its catchy, upbeat music. The 1974 film has no opening music, just simple credits and silence invaded by the sound of an approaching helicopter. Its storytelling is cold and clinical. This matches its setting -- a palatial, ornate, immaculate hotel, shuttered and alone amid ruins in the Iranian desert.

The 1974 movie captures more of a sense of fear, menace, and suspense. This includes the selection of Orson Welles to narrate the tape recording charging the guests with past crimes and also the way in which the killings are depicted. The characters are more serious. They are played, with authority, more like real people than caricatures. Richard Attenborough's judge is more stern, less folksy, than in prior versions. Stephane Audran is excellent as actress Ilona, radiant and charming on the surface but troubled and lonely at the core. The maid and butler are believable as hard, smooth con artists. In this important sense, the 1974 version is truest to the book and to those who want to see it presented as a serious mystery (the 1989 adaptation ends well but is low-budget and generally inept).

Overall, however, the 1974 film is less substantial and entertaining than prior versions. The storytelling is so spare and unartful it can feel sterile and uninvolving, lacking in wit, ingenuity, eloquence, and energy. The only moment of real charm comes early and abruptly, when Charles Aznavour performs a song, "Dance in the old-fashioned way," with Audran looking on, enchanted and lovely. By contrast, Aznavour's rendition of Ten Little Indians is disappointing. At "six little Indians," he starts pounding the piano keys and shouting the words, only to let the music die out in anticlimax before "one little Indian."

The outstanding cast is unable to breathe much life into the characters or interactions. Herbert Lom lends an air of authority, reserve, and intelligence (perhaps too much) to the doctor. But his restrained, stiff performance lacks any truly memorable quality, like Walter Huston's buffoonery and charm in 1945 or Dennis Price's vanity and arrogance in 1965, and he is unconvincing as a drunkard. Adolfo Celi can do nothing much with his role, and Gert Froebe little more with his. Elke Sommer, unflatteringly filmed, makes no impression as Vera and has no chemistry with Oliver Reed. Reed gives an impenetrable, impish performance as Lombard.

The 1974 film copies from the imperfect 1965 script, and loses some memorable lines in the translation. Also, by 1974, Lombard has no career. The 1974 film is least faithful to the nursery rhyme. Events are out of Owen's control, as when a snake is let loose, an uncertain murder weapon; one character simply wanders off into the desert; and another screams when a candle blows out, in prior adaptations a diversion engineered by Owen. The location is so faraway and desolate it raises questions about why the guests would be willing to go there, without at least investigating, and how Owen could have made the arrangements. The film lapses back to 1945's short final exposition scene. Re-writes to reflect the end of hanging as a form of capital punishment, and to make Owen choke out incoherent last words, rob that crucial scene of even the inadequate dramatic effect of its predecessors.

The Locale,Direction and Updating of the classic Agatha Christie tale have one by one destroyed this adaptation of the novel.

The first version of the book,1945's And Then There Were None was a classic,the 1966 adaptation was of passing interest...even the 1989 version had it moments but this 1975 version is a botched job. Not only is the cast turning in "take the money and run" performances,they are in the wrong roles,this makes the killer obvious from the beginnig of the investigation. And one side note...the 1945 film retained the character of religous fanatic Emily Brent portrayed perfectly by Judith Anderson,each subsequent version has cut this wonderful role,replacing her with a rather uninteresting movie star (played dreadfully in this version by Stéphane Audran).

My advice: avoid this film. Read the book,then watch the 1945 version.

This 1974 rendition regarding a known plot , as ten people are invited to a desolate island by a mysterious host. Upon arriving, a strange voice recording accuses each of them of a murder committed in the past. And then someone begins to kill them one by one, choosing his methods from a grisly children's poem that hangs in every room of the house...set in remote Iran shot by Peter Collinson with great cast as Charles Aznavour , Maria Rohm , Adolfo Celi , Elke Sommer , Stephane Audran , Alberto De Mendoza , Richard Attenborough , Teresa Gimpera , Rich Battaglia and Herbert Lom . Based on a popular novel and subsequent stage play by Agatha Christie about a unseen killer who sequentially knocks off the visitors . Agatha Christie tale of 10 people invited to an isolated place , hovering around mouthing chunks of exposition while waiting to get murdered . The guests discuss and argue each other , only to find that an unseen person is killing them one by one . Just before the gripping climax of the film , you will be given sixty seconds to guess the killer's identity! The film will pause and on the screen you will see clues to help you decide who the murderer is...but the person in suspect is always the person who is murdered next . There is no way for any of them to flee , so they set about attempting to determine who their hidden host might be and where he might be hiding.

Whodunit in which have been invited ten people who are strangers to each other , when they are all gathered, they hear from their host that each one of them has in someway caused the death of an innocent person and that justice had not be served in their cases , the guests are being killed off one by one . A psychological thriller in which 10 strangers are forced to come face to face with their dark pasts after receiving invitation to an isolated location off the civilization .This one absolutely mucks up from an isolated island mansion to a hotel deep in the Iranian desert . Passable third adaptation , this one totally mucks up the tale , the original script was much more faithful to the original Agatha Christie novel with the setting on an island and the original grim conclusion of the book ; however, producer Harry Alan Towers changed it at the last second when he realized that it would be cheaper to shoot in the Iran desert and Madrid and that the novel's ending is less marketable than Christie's happier resolution from the play version of the story . Excruciantly tense and so-so rendition with the usual characters but slowly paced . The whole cast overacts at times and playing cardboard roles against desert scenarios and a luxurious hotel . This medium-budgeted picture is a reallly slow with some interesting elements ; sticks with the original and classic version . It packs an evocative cinematography being shot in Isfahan , Iran, and temple Debob, Madrid , and Almeria , Spain . Suspenseful and intriguing score by Bruno Nicolai , including a catching leitmotif .The motion picture was regular but professionally directed by Peter Collinson who made decent films until his early death as African rage , Earthling , House of Garibaldi street .

This is one of the innumerable versions based on Agatha Christie famous novel . The best version (1945) resulted to be the classic by Rene Clair with Barry Fitzgerard , Roland Young , June Duprez , Mischa Auer , C Aubrey Smith , Judith Anderson and Richard Haydn ; furthermore , 1965 version set in Austrian Alps by George Pollock with Hugh O'Brian as Hugh Lombard , Shirley Eaton as Ann Clyde , Fabian as Mike Raven , Leo Genn as General Mandrake as Stanley Holloway as William Blore , Wilfrid Hyde-White as Judge Cannon and Daliah Lavi as Ilona Bergen . And 1989 rendition ¨Ten little Indians¨ , switching from an isolated island to African landscapes located in the sabana , it was shot in South Africa by producers Avi Lerner and Harry Alan Towers directed by Alan Birkinshaw ,most actors are mediocre and unknown , though there are tree important players as Donald Pleasence , Brenda Vaccaro and Herbert Lom who had acted in a previous remake playing the doctor. Furthermore, a Russian version (1987) by Director: Stanislav Govorukhin with Russia Stars: Vladimir Zeldin, Tatyana Drubich, Aleksandr Kaydanovskiy .