I gave up reading the Agatha Christies after I learned to spot the murderer, usually about a third of the way in, when he (or frequently she) was placed at the centre of an over-theatrical scene in front of a fairly large audience.
Although Angela Lansbury and her colleagues have always been at pains to distance themselves from Agatha Christie, the same principle is applied in this story, set in a conference of budding authors, who are each given their turn on the stage. And sure enough, the killer does manage to give away an important clue during his own well-received talk.
In her position as the famous crime-novelist, Jessica has been invited to preside over the conference, and gets a close-up view of a colourful mix of characters, some of them connected with the ex-head of the KGB, also at the conference, who has just been offered a fortune for his memoirs, exposing the secrets of the Soviet Union. When the inevitable murder takes place, Jessica warns more than one character - significantly - that too much willingness to help the police may be aimed at deflecting attention, and can point to the killer. When it comes to the final unmasking, there is another Christie touch, when it turns out that the murderer is not a thug or a psychopath, but a decent and responsible person, driven to extremes by circumstances with which one can sympathise.
Regular fans of Murder She Wrote will recognise a particular in-joke, when one character laments "Jessica Fletcher's here. There's been a murder. What are the odds?" A few years from now, viewers may need a few title-frames to explain the historical context, but when the film was released in 2000, the ending of the Cold War was recent enough to make a strong basis for the story.
