Assassinio allo specchio

They gathered an amazing celebrity cast for this, many of whom were top Hollywood draws in their younger years.

Unfortunately the performances are really inconsistent which takes the shine off things.

Liz Taylor is probably the biggest name and also the most variable. In some scenes she is fantastic, in others she is barely there, with a predilection for delivering her lines under a "beauty light" which I doubt was the director's choice.

Rock Hudson stands out and is the heart of the story. Kim Novak has the funniest lines as Taylor's siren rival. Tony Curtis is good too.

But Angela Lansbury's Jane Marple simply isn't on screen enough, with Edward Fox's wooden police officer doing far too much of the in-person investigation before Miss Marple weaves her magic.

And the reveal, although authentic to the book, is a bit too unexpected to be really satisfying.

The Mirror Crack'd is one of the many Agatha Christie stories made into an all-star film. This one is more campy and less opulent than "Murder on the Orient Express," for instance, but for what it is, it's pretty good.

Set in the '50s in Miss Marple's village of St. Mary Mead, the film stars lots of big names from that era: Elizabeth Taylor, Rock Hudson, Tony Curtis, Kim Novak - a veritable who's who of '50s megastars.

Angela Lansbury plays Miss Marple, and she's perfect in the role. The film also has an appearance by Pierce Brosnan in a small, uncredited part.

The script has the Taylor and Novak characters camping it up with bitchy insults which I don't quite remember from the book. The story concerns a movie star, her husband, her co-star nemesis, etc., coming to St. Mary Mead to make a movie.

During a party, a local resident is murdered, but the intended victim is assumed to be Taylor. It's up to Miss Marple to unravel the mystery as more murders occur.

The scene between Taylor and Edward Fox is especially good, and I've never been sure if Taylor falling on top of Hudson on the bed was supposed to be funny or not - in the movie theater, it got a laugh.

It's great to see all these old stars in the same film. By the way, perhaps this was mentioned by one of the posters - this story is based on a real-life incident that happened to Gene Tierney.

I liked this version of The Mirror Crack'd, and I am fond of the Joan Hickson version too. The Hickson version, it is true, is more faithful to the book, despite its liberties, but on its own merits this film is pretty good. The main merit is the performance of underrated character actress Angela Lansbury; she is terrific as Miss Marple, and Edward Fox does a great job as Inspector Craddock. The supporting cast are fine in their roles, Elizabeth Taylor overdoes Marina Gregg slightly but she plays with gusto, Rock Hudson is suitably subdued as Jason Rudd, and Kim Novak is delightful as Lola. The dialogues between Taylor and Novak are wonderfully witty, and often verging on hysterically funny. The film is beautifully shot, and the locations and costumes are lovely. The music is stunning too. However, the character of Heather Badcock is changed quite considerably here, and why she was changed to a naive village girl I still find perplexing. The film is overlong and has pacing problems, and the final solution was weak compared to how it could have been. On the whole, it is a movie worth seeing, and as I've said, see it for Angela. 7/10 Bethany Cox

Being a fan of both Agatha Christie, Angela Lansbury, and Rock Hudson I watched this film with pleasure. The cast here has done a great job, everybody is convincing, even Liz Taylor, although her acting is at times overdone, as usual. The movie has a good pace, dialogues are witty and humorous, and the mystery itself engaging. I think the proportions of each character's involvement in the story are true to the original (I was afraid they'd make Miss Marple into an action figure or something, but was glad to see she stayed in the background to make her grand entrance in the finale). All in all, it's a very good and convincing adaptation of Christie's book.

This is the film that launched Angela Lansbury's career as a television sleuth. The character she began playing four years later was much the same as the one she plays here - and it's not Miss Marple. Not that purists have any right to complain. Agatha Christie's Miss Marple isn't really Miss Marple, either. Miss Marple first appeared in "Murder at the Vicarage" (published 1930), and I can't help thinking of the character in that book as the REAL Miss Marple: a transparent, almost pathologically nosy woman who thoroughly enjoyed prying for its own sake, who as capable of solving mysteries because she was unable to rest so long as there was potential gossip she didn't know about. She wasn't a saint, she wasn't an inspired guesser, and she wasn't wise.

Almost immediately, though (in "The Tuesday Club Mysteries", published 1932), Miss Marple transformed into someone who WAS saintly, inspired and, worst of all, wise, and it's this latter, less agreeable Miss Marple that dominates the subsequent novels. What obligation does anyone else have to be authentic, if Agatha Christie herself wasn't? So far as I'm concerned the character is now fair game for any revisionist interpretation whatever; and if so, give me Angela Lansbury's energy over Joan Hickson's "authenticity" any day. ...Strange, then, that the film doesn't really work. The puzzle itself is a real humdinger - one of Christie's very best, in my opinion - and the denouement is handled very well. But there's something bookish and stifled about everything leading up to it. Most Christie adaptations have a similar plodding quality (notable exceptions: Billy Wilder's "Witness for the Prosecution", Sidney Gilliat's "Endless Night", and people who have seen René Clair's "And Then There Were None" think highly of that, too) - there's an AIR of excessive fidelity to the book, even when quite a few details have been changed.

One problem unique to this one is the set of laboured jokes at the expense of 1950s Hollywood - at least, the jokes WANT to be at the expense of 1950s Hollywood, but I think they come from "My Big Book of 1000 One-Liners", or some such.