Le miroir se brisa

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.

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.

How many of us have fantasies about English country villages and cottages therein? This movie will take you directly into such things and your eyes will be delighted with the settings. How cozy it all is - no wonder they call light-hearted mysteries "cozies." I was struck by Angela Lansbury's height. Either she is a tall woman or the ceilings in these adorable cottages are quite low. Angela is Miss Marple, of course, and she begins the flick by demonstrating, at a public screening of a movie murder mystery, how quickly she can solve a complicated crime. Elizabeth Taylor is queenly and is married to the scrumptious Rock Hudson who, although he dallies with a strenuously self-adoring Kim Novak, appears to love her dearly. Edward Fox, a much-enjoyed actor whom I loved in '95's "A Month by the Lake" with Vanessa Redgrave, is so fresh and youthful here! Tony Curtis as the brash producer strikes not one false note - (or else they are all somewhat false as befits his role as wheeler-dealer!) My girlfriends and I may study and duplicate Miss Marple's cottage decor in our own homes after ooh-ing and ahh-ing over the famous sleuth's movie digs! Note: Angela Lansbury proves in this film that she can chop and dice with the best chefs. And she uses a very long, sharp blade, worthy of a Maven of Murder!

Lord Brabourne who produced The Mirror Crack'd as he did a few other films adapted from Agatha Christie's work was lucky to have produced this at all. He was the son-in-law of Lord Louis Mountbatten and when the IRA blew up the yacht they were on, Brabourne's mother and son were killed on the vessel as well as Mountbatten. Brabourne, his wife and a younger son survived. This all happened a year before The Mirror Crack'd filmed and was released.

This film is right in keeping with the high standard of pictures Brabourne made of Christie stories like Murder On The Orient Express and Evil Under The Sun. As the story involves an American film crew over in Great Britain in 1953 Brabourne was able to get a quartet of top Hollywood names in support of Angela Lansbury as Jane Marple.

Producer Tony Curtis and Director Rock Hudson are collaborating on a film about Mary Queen of Scots that will star Hudson's wife Elizabeth Taylor in the title role. Curtis's wife Kim Novak plays what would be billed as a cameo in the film as Queen Elizabeth. Taylor and Novak are rivals in the tradition of Bette Davis and Joan Crawford and get off some truly bitchy lines at each other.

Maureen Bennett who is one of the villagers and who met Taylor years ago in passing when she was a WREN and Taylor was entertaining troops is poisoned at a gathering of the villagers and the film crew. Someone spiked Bennett's daiquiri and who could possibly want to murder this ingenuous fan. Later on Hudson's secretary and girl Friday and trenchant observer of the whole Hollywood scene Geraldine Chaplin is also poisoned when her inhaler is similarly spiked.

When Lansbury figures out the who in the film it all becomes deceptively simple. The motive however is an incredibly complex and obscure one involving a trivial passing incident that brought to life a great tragedy suffered by one of the visiting Americans.

The film is a reunion of sorts with Hudson and Taylor as co-stars of the classic Giant from the Fifties, a personal favorite of mine for both its stars. Also back in those days Rock Hudson and Tony Curtis were both the leading contract stars at Universal studios, but they never starred together in anything. They did appear in Winchester 73 as featured players but had no scenes together. I really liked Curtis the best in this film with him doing a wonderful satire of Darryl F. Zanuck in the producer part. I'm sure Agatha Christie must have met Zanuck sometime because she had him down great and of course Curtis knew him as well.

Definitely The Mirror Crack'd is a must for Agatha Christie fans and for fans of the stars. And considering what its producer went through we are lucky to have it at all.

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.