Mord nach Maß

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.

Around 45 years ago, when I was just a young lad, Hayley Mills was my favorite actress, and her 1962 film "In Search of the Castaways" was my favorite film, but between this and that, I don't think I've seen Hayley in anything since 1965's "That Darn Cat." How nice, then, to see her, the other night, at age 26 in the 1972 British film "Endless Night," and to realize what a nubile nymph my old flame had turned into later in life! In this adaptation of a 1967 Agatha Christie novel, Hayley plays Ellie Thomsen, the 6th richest girl in the world, who, after one date with pretty-boy chauffeur Michael (excellently portrayed by Welsh actor Hywel Bennett), elopes with him and builds his dream house in the Herts countryside. It is hard to figure out what words best describe "Endless Night." It is not really a horror movie, or a love story, or a thriller, but certainly does have elements of all these types. The picture IS remarkably atmospheric, in no small measure due to yet another wonderfully evocative score by the great Bernard Herrmann, and should manage to baffle most viewers who are trying to figure out just where the story line is going. Besides the fine work by its two leads, veterans George Sanders (here in one of his last roles, and playing what his character self-describes as a "desiccated old poop") and Lois Maxwell add sterling support, and even Britt Ekland turns in a convincing performance as Ellie's tutor/companion. Throw in some gorgeous scenery in the Herts and Positano countrysides, a surprise final quarter hour that manages to subvert everything we thought we knew, and two or three mild scares and you've got yourself one very interesting entertainment. Kudos, indeed, to writer/director Sidney Gilliat! I just hope that I'm not foolish enough to wait another 40 years before watching Hayley Mills in another picture. Perhaps it's time for me to finally check out Hayley and Hywel in 1968's "Twisted Nerve"...IF it ever gets released on DVD!

I won't say it's a bad film, but I have to believe the liberties taken with the adaptation of the story go well beyond the nudity and modern setting. (I will say that the house with the remote-controlled indoor swimming pool in the living room was a bit over the top.)

I will confess that I did not guess the direction the plot would take, but what was so disappointing was the profusion of loose ends and entirely pointless characters. Agatha didn't usually write them that way - everyone ended up with a role in the outcome of the story. Here we are presented with in-laws, neighbors, family friends, and a mysterious old woman --- all of whom have nothing at all to do with the resolution of the story. Most of them could have been omitted entirely and the story would have been essentially unchanged.

My DVD even featured an editing error: about 10 seconds of the film repeat precisely (when the girl's parents are observed getting back into their car to leave.)

There is also a broken window that is never explained, a ghostly appearance that is never accounted for or revisited, a car is observed to take an unusually long to get somewhere - but we are never given the significance. An architect seems to know things the audience does not -- yet no explanation is offered of how he knows them.

Like Agatha's best writing, characters and clues and complications pile up... but then they are inexplicably thrown away in favor of an unexpected, yet rather anticlimactic resolution.

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.

How old was Agatha Christie when she wrote this? Pushing 70? She was pretty old, about my age, and that might account for the tragic emotional tonus of this story.

You wouldn't know this was a Christie story if it weren't so advertised. True, there are some of the usual themes -- British class distinctions, extreme wealth, jealousy, poison -- but they are submerged by a love story that seems at first to be going nowhere fast. The story lacks any of the novelist's usual subtle wit.

No point in spelling out the plot in any detail. A poor chauffeur-for-hire meets a blond sylph and they fall for each other. He discovers that she is the sixth richest girl in the world, her coming-of-age party having been covered in the newspapers, and he rejects her because, as he says, "I have my pride." (The audience may be forgiven for a few muffled chuckles at this point.) She dies under mysterious circumstances while riding. In these circles, "riding" is taken to mean horseback riding. He inherits the money. And things thereafter go a little berserk without there being a hell of a lot in the way of motivation.

The film is narrated by the young man, Michael (Bennett). At first his story seems perfectly reasonable and he is presented as a fellow of principle if not money. Hayley Mills is introduced in a filmy white dress, her long blonde hair wafted by the breeze as she capers alone in a meadow, slender limbs, radiantly healthy, and -- well, you know the type. Eminently edible. But Michael's story, though it begins normally enough, describing the approach-avoidance conflict from which he suffers, being in love with Mills and yet resenting her wealth, gradually changes.

He becomes less and less reasonable, and less nice. He's impolite to Greta (Eklund), Mills' tutor and possessive friend. Greta is often described as "bossy" but frankly her supposed obsession with power isn't well shown. There is just one argument -- a slightly bitchy one -- between Greta and Michael over the placement of a more than usually ugly statue of a cat. What evidence we see of her bossiness is rather weak tea. If they're going to have a domineering German nurse, couldn't the nurse and Hayley Mills have had a little consensual flagellation or something? The climax seems to come out of thin air. A sudden unmotivated reversal of the character of Michael.

It's not a bad movie though. Romance, yes, but a romance filled somehow with uneasiness and a gradually growing sense of dread. And when I first watched this and heard the first few notes of the score, I thought, "OMG, the composer is ripping off Bernard Hermann note for note." It turned out to BE Hermann, and a very effective Hermann at that, full of an eerie melancholy.

Maybe the reason it leaves a viewer feeling sad is that Christie seems to be stretching her talent so much trying to achieve "significance." And for the first time I'm aware of, we actually care about the character who dies, whereas in previous stories the victim was nothing more than a stereotype who, once gone, was forgotten. The death was only a pivot on which the remainder of the story could turn. Here, it's really too bad.