La nuit qui ne finit pas

True-blue Agatha Christie fans know better than anyone that the creator of Miss Marple and Hercule Poirot did not always write crime-solving procedural. Endless Night, published in 1968, is a perfect example of the moody, psychological thriller Christie sometimes explored, particularly in the late years of her career. This 1972 adaptation, scripted and directed by seasoned British filmmaker Sidney Gilliat, is indeed a strange duck: a compelling tale of small, unsettling phenomena and events, but with no defining mystery, no apparent crime to pull the details together--not until quite late in the story, that is. Hayley Mills and Hywel Bennett, partnered together in several films (The Family Way, Twisted Nerve) during the 1960s and '70s, play an American heiress and an underemployed London chauffeur who marry and move into a dream house designed for them by a world-class architect (Per Oscarsson). In short order, things begin to get mighty weird. A crazy old woman stomps around the couple's property, whispering ambiguous warnings. The bride's nuisance of a sister (Britt Ekland) moves in, and a handful of disapproving relatives keep popping up to belittle the hero. Where this is all leading is entirely unexpected--Christie and Gilliat really have us falling without a parachute for a while--yet it's exciting and tragic all at once. Nice performances all around, with special admiration for Oscarsson's role as the dying architect.

Endless Night is one of those movies that is hugely flawed, and yet it sticks in the mind unlike many more polished movies. Extremely slow paced for much of it's length and with several sequences that feel almost unnecessary, and even a few which just seem wierd, the film than delivers a true knock out of a twist which makes one realise how well the story has been constructed. For this reason, in some respect it's more satisfying to watch the second time even if one is no longer surprised, because one can notice all the little clues that have been put in ,and many of the previously mentioned unnecessary or wierd bits seem more essential. There is, though, one huge red herring that seems rather pointless.

This was the last of the Hywell Bennett/Hayley Mills collaborations for the Boulting Brothers and it is possibly their most interesting. Cast are all excellent ,including George Sanders in one of his final roles, and this is just as well since the film is indeed extremely talky. The alternately eerie and romantic Bernard Herrmann score is very memorable, although they could have made sure Mills' singing voice [obviously dubbed] sounded like her normal voice.

Many will be unsatisfied with this film ,but try it if you fancy a somewhat different kind of thriller, even it's only really a thriller in the final half hour!

Ellie and Michael (Hayley Mills and Hywell Bennett) are two strangers who meet, fall in love, and get married. Michael is a former chauffeur, and Ellie is an heiress worth millions. Obviously, her family is against the whole idea, even enlisting their attorney (George Sanders) to offer them big money for a quick divorce. This does nothing to deter these lovebirds, for their relationship is built of stronger stuff.

Enter Ellie's old friend, Greta (Britt Ekland), and things start to get interesting. Greta moves in with the young couple, causing a strain on the marriage. Odd occurrences begin chipping away at the tranquil atmosphere, giving way to a rising sense of dread.

ENDLESS NIGHT sets us up by pretending to be a love story with mysterious elements, then plunging us headlong into a story of greed, insanity, and murder. There's a truly unexpected, jaw-dropping twist in this film! All of the characters are wonderful, especially Ms. Mills, which is a good thing, since she carries most of the movie...

Hayley Mills, Hywel Bennett, Britt Ekland,and George Sanders star in Endless Night from 1972, directed by Sidney Gillian, with a magnificent Bernard Herrmann score.

I saw this years ago and have seen other versions so I remembered bits and pieces. Bennett plays Michael Rogers, a ne'er do well who meets and marries a wealthy young woman, Ellie. Together they build their dream home.

All is not bliss. A crazy woman wanders the fields making wild prediction, and a friend/assistant of Ellie's, Greta (Britt Ekland), moves in, to Michael's consternation. The house, for all its beauty, has an eerie atmosphere.

Hayley Mills was part of my growing up years, and what a lovely woman and actress she is, very appealing as Ellie. She is supposed to be an American. Her British accent is prominent.

I won't spoil the film for those unfamiliar with the plot. This is a good film and, like most of Christie's stories, wonderful.

The last film made by the illustrious Launder & Gilliat team is a psycho-thriller that desperately wants to be praised as "Hitchcockian" and even recruits Bernard Herrmann, Hitch's favourite composer, to write the score. Perhaps the Hitchcock film it most resembles, however, is "Frenzy" – both seem to be the work of ageing filmmakers trying to get "with it".

"Endless Night" is extremely faithful to Agatha Christie's source novel (it may be the closest-ever filming of one of her novels) but neither of the two protagonists seem to come across with the same conviction that they do in the book. Hayley Mills struggles with a difficult part (Ellie is a fairly insipid character) while Hywel Bennett somehow never convinces as the enigmatic Michael.

There's lots of fun spotting familiar faces in the supporting cast, including an uncredited Nicholas Courtney (the Brigadier from "Doctor Who") as the auctioneer. Per Oscarsson is good as the insightful architect Santonix, who guesses something of what is going on, although our admiration for him is lessened by the hideously vulgar house he builds (which all the characters acclaim as a masterpiece!) I can't help wondering what Dame Agatha's loyal fans made of this film; the setting in an idyllic corner of rural England is traditional enough but the atmosphere is a great deal darker than usual. The novel, written in 1967, represented quite a bold departure for the writer (and a successful one) but the film at times descends into banality. Having said that, the twee nature of Ellie and Michael's romance gives the conclusion much more impact and the final images are startling.