IMDb-BEWERTUNG
6,0/10
2532
IHRE BEWERTUNG
Frisch vermählt ziehen Ellie und Michael in eine Traumvilla. Doch sie missachten, dass das Anwesen verflucht ist. Basierend auf der gleichnamigen Romanvorlage von Agatha Christie.Frisch vermählt ziehen Ellie und Michael in eine Traumvilla. Doch sie missachten, dass das Anwesen verflucht ist. Basierend auf der gleichnamigen Romanvorlage von Agatha Christie.Frisch vermählt ziehen Ellie und Michael in eine Traumvilla. Doch sie missachten, dass das Anwesen verflucht ist. Basierend auf der gleichnamigen Romanvorlage von Agatha Christie.
- Auszeichnungen
- 1 Nominierung insgesamt
Bob Keegan
- Innkeeper
- (as Robert Keegan)
Handlung
WUSSTEST DU SCHON:
- WissenswertesAgatha Christie, author of the source novel, was reportedly unhappy about the inclusion of a sex scene with nudity in the film.
- PatzerWhen Michael Rogers is driving into Amsterdam the sign mentions a town Shertogenbosch, it should be written 's-Hertogenbosch. The town of Zwindrecht is also misspelled, it should be Zwijndrecht. The layout of the cities/towns doesn't make much sense in terms of Dutch Geography.
- Zitate
Lippincott: Reuben has never been known to get anything right... horses, women or facts. His incompetence borders on the supernatural.
- VerbindungenFeatured in Agatha Christie: A Woman of Mystery (2007)
- SoundtracksEndless Night
(uncredited)
Sung by Shirley Jones
[The song Ellie (Hayley Mills) sings while she plays the piano, and played during the end credits]
Ausgewählte Rezension
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.
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.
- rmax304823
- 2. Okt. 2005
- Permalink
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Details
- Erscheinungsdatum
- Herkunftsland
- Offizieller Standort
- Sprache
- Auch bekannt als
- Endless Night
- Drehorte
- Albergo San Pietro, Positano, Salerno, Campania, Italien(Italian scenes film at The Albergo San Pietro, Positano)
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- Laufzeit1 Stunde 39 Minuten
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1
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