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This is a dramatization of the consummate Agatha Christie book, the benchmark for the whodunit. Each of the characters is nicely portrayed by accomplished actors. The pacing, the subdued dialogue, all make this film work, even though it was felt necessary to doctor the plot and rename characters (this I will never understand). I won't criticize because I've never felt that we should compare movies to books--they are different media--unless the plot is badly compromised. This one is not. I remember being really pleased as a young viewer that Christie is able to bring all issues to a resolution in a believable and realistic way--no hidden doors--no strange interventions. She is able to do this even in her lesser books. Sometimes it is preferable to not be open ended, leaving unfinished details. I relish this author and the movies and movie portrayals of her books.

I also need to mention the music. The score is so carefully tuned to the actions of the characters. The black and white photography lends itself well to the oppressiveness of the setting where the characters find themselves. You definitely should see this film.

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.

All right, I'm not going to bother with the movie's strengths, as they are covered by every other reviewer here. What I want to talk about is the one area where I think director Rene Clair missed the boat: mood.

The book is absolutely chilling, and manages to have you jumping at noises in the night far better than most any of today's attempts at horror writing. The movie, however, has a campy, needlessly humorous feel which detracted strongly from my enjoyment. An example? Casting Harry Thurston as the boatman. His is one of the first faces we see, and it is twisted into the best version of a Bud Abbott facial expression that he could muster. Mischa Auer's performance was ridiculous to the extreme, and made his character neither believable nor endearing. There are a few other gripes I have, but they're of the same ilk, so I'll just say that this reasonably faithful portrayal could have been one of the greatest mystery thrillers ever if it had been taken a little more seriously.

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.

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.