Un trio de sorcières est-il responsable d'une série de morts subites ou existe-t-il une explication rationnelle ?Un trio de sorcières est-il responsable d'une série de morts subites ou existe-t-il une explication rationnelle ?Un trio de sorcières est-il responsable d'une série de morts subites ou existe-t-il une explication rationnelle ?
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Butcher job on Agatha Christie story and a lackluster cast make this nearly unwatchable. The period detail also seems wrong with all that late 1960s clothes and hair.
Rufus Sewell and Rita Tushingham are the only recognizable stars in this mess. Most of the others should have stayed in acting classes a little longer. Especially awful is the woman paying Hermia.
Casting is suspect also in having Sewell married to a Black woman in 1960 London, let along a Black witch living with two white women in Much Deeping.
The whole witchy woman thing vs the usual Christie poisoning plot turns into a total muddle and makes the un-Christie ending really stupid. Oh yes, and cut the F bombs. They added absolutely nothing to the proceedings.
I did, however, like the car Sewell drives.
Rufus Sewell and Rita Tushingham are the only recognizable stars in this mess. Most of the others should have stayed in acting classes a little longer. Especially awful is the woman paying Hermia.
Casting is suspect also in having Sewell married to a Black woman in 1960 London, let along a Black witch living with two white women in Much Deeping.
The whole witchy woman thing vs the usual Christie poisoning plot turns into a total muddle and makes the un-Christie ending really stupid. Oh yes, and cut the F bombs. They added absolutely nothing to the proceedings.
I did, however, like the car Sewell drives.
This Sarah Phelps (am not British and know nothing of her work) seems to have aroused passionate criticism for her seemingly wholesale changes to the revered Agatha Christie's work.
If the accusations are correct and further reading seems to make that a fact then it seems rather pointless in even describing The Pale Horse (the TV serialisation) as based on Christie's novel. At no stage did this production feel like a Christie who-dunnit. The so-called three witches felt completely contrived from start to finish. And the ending? Well, there will be no use of spoilers here because this Phelps' yarn has none. Take your pick from a few guesses!
I fully agree with one review here which suggested the Christie estate should take legal proceedings against Sarah Phelps whose butchering of plot and character make this the worst Christie adaptation ever produced.
So disgusting that a rating is inappropriate.
There seems to be a need these days to take classic works by the likes of Bram Stoker and in this instance, Agatha Christie and re-write them. Or to put it another way, in my opinion, "stuff them up".
For me, the maxim "if it ain't broke don't fix it" applies and The Pale Horse is no exception. To start with you have a male hero, who can't be a hero, without first being a villain. The original hero of the piece is re-written as a scoundrel and a womaniser. Why this is the case I can only guess at but its a lame ploy.
The rest of the story fares little better, skewing the tale away from an intriguing murder mystery, towards a rather jaded tale of sexual infidelity and secrets.
On the plus side the acting is decent and the visuals are creepily eerie. That said, once again, the price of tinkering with something that works just fine is an off balance tale, that fails to resonate.
5/10.
For me, the maxim "if it ain't broke don't fix it" applies and The Pale Horse is no exception. To start with you have a male hero, who can't be a hero, without first being a villain. The original hero of the piece is re-written as a scoundrel and a womaniser. Why this is the case I can only guess at but its a lame ploy.
The rest of the story fares little better, skewing the tale away from an intriguing murder mystery, towards a rather jaded tale of sexual infidelity and secrets.
On the plus side the acting is decent and the visuals are creepily eerie. That said, once again, the price of tinkering with something that works just fine is an off balance tale, that fails to resonate.
5/10.
Sigh. The screenwriter simply doesn't understand Agatha Christie and she's murdering the originals. The Pale Horse, The ABC Murders, Witness for the Prosecution, And Then There Were None - they all miss the point completely.
You know who understood Christie perfectly? Rian Johnson. His "Knives Out" is exactly like an Agatha Christie novel. He even captured the essence of Poirot, something Murder on the Orient Express could not. See, Poirot is not about the fact that he's Belgian, or bald or has a mustache. It's that the others perceive him as weird, and pompous, and even clueless, things Daniel Craig & Rian Johnson understood perfectly.
Agatha Christie was never gross. She was never obvious. She was witty, clever and cultivated. Her social commentary is subtle. She knew how to allude without shouting it. She knew how to misled, how to create an atmosphere. She could make you suspect everyone and noone at the same time.
Sarah Phelps' adaptations are like crayon copies of Renaissance paintings. You may recognize the subject but it'll never leave a lasting impression.
You know who understood Christie perfectly? Rian Johnson. His "Knives Out" is exactly like an Agatha Christie novel. He even captured the essence of Poirot, something Murder on the Orient Express could not. See, Poirot is not about the fact that he's Belgian, or bald or has a mustache. It's that the others perceive him as weird, and pompous, and even clueless, things Daniel Craig & Rian Johnson understood perfectly.
Agatha Christie was never gross. She was never obvious. She was witty, clever and cultivated. Her social commentary is subtle. She knew how to allude without shouting it. She knew how to misled, how to create an atmosphere. She could make you suspect everyone and noone at the same time.
Sarah Phelps' adaptations are like crayon copies of Renaissance paintings. You may recognize the subject but it'll never leave a lasting impression.
The ending killed it. It was a good and enjoyable plot until it stoped making sense towards the end.
Le saviez-vous
- AnecdotesMark and Hermia have paintings of four English nobles on horseback over their bed. These are likely meant to represent the four horsemen of the apocalypse.
- GaffesWhen Mark Easterbrook speeds down the lane and stops his car to speak to Oscar Venable, the top is clearly up on the car. In the next scene as he comes to a stop in town, the top is down and secured by a leather cover.
- Crédits fousNo cinematographer / director of photography / lighting cameraman was credited for either episode, although there was a credit for the 2nd unit DoP.
- ConnexionsVersion of The Pale Horse (1997)
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Détails
- Date de sortie
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- Aussi connu sous le nom de
- The Pale Horse
- Lieux de tournage
- Bristol, Angleterre, Royaume-Uni(on location)
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