The latest evolution of Agatha Christie continues. Unlike the better known story Murder on the Orient Express, however, this particular stand-alone mystery is less familiar, though it was turned into a Marple mystery and a separate movie. I’ve seen both of these versions, but frankly don’t remember them that well. This incarnation, however, is a gripping three-part drama that keeps you guessing till the very end.
Sarah Phelps, who also wrote the recent and wonderful Witness for the Prosecution, adapted and constructed this mystery to provide a number of believable suspects. Director Sandra Goldbacher (Me Without You) controls the mystery and motives to keep you rethinking your options. The field of possible murderers doesn’t even start to diminish until the last 30 minutes of the three episode series, as the truth fully comes out.
Casting certainly was in their favor as well. With Bill Nighy (The Limehouse Golem) leading the family along with Anna Chancellor (Shetland), there is a great dynamic that sets the tension. The family of adopted children each bring their own sensibility and motivations. Anthony Boyle has the most complex role of the sibs, but he is well supported by Christian Cooke (Witches of East End), Crystal Clarke (Assassin’s Creed), Ella Purnell (Miss Peregrine’s School for Peculiar Children), and Eleanor Tomlinson (Death Comes to Pemberly). A couple of outsiders bring in the final ingredients: Luke Treadaway (Fortitude) and Matthew Goode (Self/less).
To be honest, it isn’t an entirely fair mystery; some information is held back till the final episode. Some of the blind spots are obvious (we see the murder multiple times from different time frames and angles) but some are about hidden relationships. However, even though the “who” is strung out, the clues and other aspects of the construction are beautiful. It all adds up to a much more believable story than we usually get to see, and one that is delightfully dark and satisfying through to the final frame.