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Why quibble about the ending? I know it's not the same as the book's final scene, but since Agatha Christie herself changed it for the stage version--sensibly (because the book's ending doesn't work dramatically)--there's no reason to feel cheated. It's still one of the cleverest ideas for a mystery--ten people invited to an old house by the sea so that an unknown host can dispose of them one by one. Under Rene Clair's direction, there's a great deal of humor thrown in. Add to that, enjoyable performances from a first-rate cast of character actors--Barry Fitzgerald, Judith Anderson, Walter Huston, Louis Hayward and the always dependable Richard Haydn as Rogers, the butler. June Duprez is the only weakness in the cast members, showing little emotion throughout. The atmosphere is brooding, the chills are delicious, and you can rewind your VHS print to spot Agatha's give-aways. One of the best mysteries of all time, but don't waste your time on the later remakes. This version is the genuine product.

Rene Clair's masterful direction takes Christie's classic novel up to a new dimension more suitable for cinema. Every character is perfectly realized by magnificent acting. My favorite is C. Aubrey Smith who portrays General Mandrake with a British subtlety that cannot be understood fully by today's American viewers. But why quibble?

Every cast member is perfect. Roland Young may actually be the most instrumental as Blore in keeping the films wit intact and never allowing it to get too serious. Barry Fitzgerald is terrific as the Judge, and Huston perfection itself as the charming, albeit alcoholic, doctor. Dame Judith Anderson, perhaps the best supporting actress of all time, dominates every seen she is in as a sinister spinster.

But, of course, there is a lead, and in the hands of a lesser actor, he could have wound up being a feckless straight man to all the great character actors around him. With Louis Hayward as Mr. Lombard, the character more than holds his own with all challengers, and has an especially nice chemistry with Young. And although June Duprez is slightly out of her league as a thespian, she is plucky and capable enough, with Hayward's help, to pull off her role just fine.

The atmosphere, photography, and soundtrack are all artistic perfection. This movie is a true treat for all the senses.

No Agatha Christie story has ever been made into a better movie than this one. The movie has the altered ending from the book (which I'm told was changed by Christie for the stage version because let's face it. The book's ending would never *ever* work in a dramatized setting, film or stage) and the character of Tony Marston has become a Russian prince to accomodate the casting of Mischa Auer, but apart from that Christie's book has been flawlessly translated right down to the last detail. The look, the settings, the characters, all of it is just right. There are also some wonderfully comedic performances that veer into some delicious black comedy at times (my favorite being Louis Hayward's bemused response to Roland Young's bumbling deductions: "And then he takes the chopper and splits open his own cranium. Fact. I'd like to see you do that yourself.") About the only casting flaw is June Duprez, who is woefully bland and dull as Vera Claythorne, the lead female character.

Judge Francis J. Quinncannon (Barry Fitzgerald), Dr. Edward G. Armstrong (Walter Huston), Philip Lombard (Louis Hayward), Detective William Henry Blore (Roland Young), the secretary Vera Claythorne (June Duprez), Prince Nikita 'Nikki' Starloff (Mischa Auer), Gen. Sir John Mandrake (Sir C. Aubrey Smith) and Emily Brent (Judith Anderson) are invited by the mysterious Mr U. N. Own to spend the weekend in an island and they are hosted by the newly-hired butler Thomas Rogers (Richard Haydn) and his wife and housekeeper Ethel Rogers (Queenie Leonard).

Thomas explains that Mr. Own will arrive later and following the instructions of his master, he plays a record where the host explains that all of them have been accused of murder. Further, they realize that none of them actually knows Mr. Own. Vera plays a song about Ten Little Indians on the piano and they see a decoration on the table with ten Indians. Soon they are killed one-by-one while the each Indian vanishes from the decoration. Who might be the mysterious killer?

"And Then There Were None" is an engaging thriller based on a novel and a stage play by Agatha Christie. René Clair makes an excellent theatrical but never boring film, supported by magnificent performances and a delightful screenplay with tense and humorous situations. My vote is eight.

Title (Brazil): "O Vingador Invisível" ("The Invisible Avenger")

Here's another movie that I never felt was anything but fair, but I kept giving it more chances and every time I did, my rating went up. It seems to get better and better with multiple viewings. One of the reasons is that the more films I watch, the more I get familiar with all these actors.

If you didn't know any of these actors, the movie would be "fair" at best. You can bet if the story were re-done today, it would be faster moving. As it stands, its okay but a film in which 10 people are invited to an island and are systematically murdered one by one, should make for a tense thriller. Here, it's more of a study in paranoia, but that's interesting to view, too. I especially enjoy watching Walter Huston and Barry Fitzgerald banter back-and-forth.

The ending to this mystery was well-done, too, and not something you're likely to solve. So, if you like the old classic mysteries, this should be appealing. It features an interesting cast of young and old actors, male and female.