SEE HOW THEY RUN

UK, 2022, 98 minutes, Colour.

Sam Rockwell, Circe Ronan, Adrien Brody, David Oyelowol, Ruth Wilson, Reece Shearsmith, Shirley Henderson, Charlie Cooper, Ania Marson, Jacob Fortune-Lloyd, Laura Morgan, Pippa Bennett-Werner.

Directed by Tom George.

See how they run. Three blind mice. The Mousetrap. Agatha Christie. Whodunnits. And, that’s what it’s all about.

This reviewer is more than partial to detective stories, to whodunnits, to the various screen versions of Agatha Christie novels, Poirot and Miss Marple. If you share this partiality, this film is yours. Which makes it rather harder to review for those who are not caught up by whodunnits. Probably the best advice is: at least give it a try, there is much to entertain and amuse.

Early in the piece, the obnoxious American director who has been invited to London to direct a film version of The Mousetrap, mocks (and this is all visualised as well) the expected conventions for a whodunnit, especially in the Agatha Christie vein, the remote mansion, the range of (odd) characters, the suspects, the murder, the investigation, the revelation. The American director also wants to storyboard a rather graphic violent conclusion to his film which shocks the rather prissy writer, David Oyelowo, and suggests there be flashbacks which the writer considers absolutely obnoxious. Of course, that is what we get, but in very comic ways.

The director, played by Adrien Brody, does a voice-over telling us that the character who annoys is most likely to be killed – and he is (though gets a strong performance in all the flashbacks!). The occasion is the hundredth London performance of The Mousetrap (starring real life Richard Attenborough and his wife, Sheila Sim), a celebration, the producer wanting it to close so that he can get the film out before everybody knows whodunnit, the other producer wanting it to run and run (which it has done for more than half a century!). There are various other characters, people who work in the theatre, the cast, the prissy writer’s partner. And, to this reviewer’s satisfaction, the murderer is unexpected but the motivation very well worked out and explained.

But the enjoyment is not so much in the suspects but in the police Inspector and his eager (understated) rookie constable assistant. It is surprising to see American Sam Rockwell in the role of the London detective, limping from a war injury, drinking, touch of the taciturn, but persevering in his interviews. The delight is Saoirse Ronan as the constable, garrulous, eager to pin the murder on the next suspect, taking everything down iin her notebook (which eventually does come in handy), a movie lover, quoting films and movie information all the time (and there are some very entertaining references for film buffs, some actual references to Romulus Studios and its founderr and his production of The African Queen).

So, there is a lot of amusing dialogue, plot tangles and suspicions, and some more murders.

And, there are some visits to The Mousetrap, especially for the two police with complimentary tickets from Richard Attenborough. Agatha Christie fans will enjoy the final part of the film, the setting up of the main characters to come for dinner at Agatha Christie’s country house, to be entertained by her husband (tongue in cheek portrayal by a black actor), archaeologist Max Mallowan, who offers Mesopotamian cocktails. And Shirley Henderson obviously enjoys herself playing Agatha – who has quite an instrumental role in the climax, apart from putting something in the main suspects tea but somebody else drinking it!

Happy ending, a medal for the Inspector, top marks for the constable and her graduation, their going to see The Mousetrap in comfort – and the Inspector, emulating the final scene from the play, turning to the cinema audience and warning them not to reveal the ending!

1. The popularity of whodunnits? Of Agatha Christie stories? Off her play, The Mouse Trap?
2. The atmosphere of 1953, London, the West End, theatres, streets, homes, pubs, Scotland Yard? The country estate of Agatha Christie? The musical score and echoes of the time?
3. Audience awareness of The Mouse Trap, 100 performances in 1953 – and still continuing? The Agatha Christie plot, allegedly based on a true story, the murders, the solution, the police asking the audience not to give away the solution (as in the play itself)? And the reprise of this at the end of this film? Richard Attenborough and Sheila Sim in the play? In this film actual producer John Wolf? Fictionalised?
4. The opening narration, American, American perspective, the director, criticism of whodunnits, the humorous overview of how whodunnits work? The most unlikeable person killed, his murder? His behaviour towards everyone? His wanting flashbacks (to Mervyn’s disgust)? The film including flashbacks, his fight with Mervyn and tearing the manuscript, his storyboarding of how the film should end (and this film using the same storyboarding)? The story of the war, his illegitimate son? The clash with Petula? His attempt at seduction with Sheila Sim? The fight with Richard Attenborough, the cake, the fish service, changing his clothes? His death?
5. The performance of the play, the cast and staff remaining in the theatre after the murder? The introduction to the range of suspects? Mervyn, prissy playwright? His Italian, emotional companion? Petula as producer, self-assured, employing her ancient mother? Richard Attenborough and his reputation, Sheila Sim and her reputation? Dennis, usher?
6. Introduction of Inspector Stoppard (and the Tom Stoppard, Real Hound reference)? Constable Stalker? His limp, war experience, world-weary, his drinking, the group, the individuals, interviews, accountability to Scotland Yard? The contrast with Stalker, ingenuous, film fan and the range of references, writing everything down, talking a lot, quick to conclusions concerning the killer? Her background, husband dead in the war, her two children, home?
7. The two working together, odd couple, Scotland Yard and speeches about women in the force? Responsible to the Home Secretary? Travelling together, in the car, Stoppard losing patience, Stalker with answers and addresses? His excursion to the dentist, to the pub, her tracking him down, her covering for him with Scotland Yard?
8. The investigations, questions, the insertions of the flashbacks?
9. Jokes about whodunnits, this film using all the conventions and twisting them, jokes about Agatha Christie?
10. The play going on, everybody at the play? Audience knowledge about Mervyn and his animosity towards the director? The jealousy of his boyfriend? Woolf, his secretary, going out with her, discovered by the director and the blackmail, his suite at the Savoy? The producer wanting the play to end so the film could be made before everybody knew whodunnit? The producer, the job to her mother, her mother paying her rent? Dennis, his presence in the foyer, observing, Mervyn telling him about the writing for the screenplay?
11. The red herring with Stalker’s presumptions, that Stoppard was the killer, seeing him over the dead body, the director’s book with women’s names, tracking down Joyce, the presumption that Stoppard’s wife was pregnant by the director? The attack, in prison, the interrogation?
12. The invitation to Agatha Christie’s home, the producer and his mistress, the Attenboroughs, Petula and her mother? Dennis and his arrival, thinking Agatha Christie was in the rug, in fact the producer’s wife? The pompous butler and his manner, the urging him to pick up the rifle? Max Mallowan and his Mesopotamian archaeology background? Agatha Christie arriving, controlling Dennis, making the cup of tea, the poison, giving the cup to Dennis, the butler collapsing and dying? Sheila Sim throwing the Molotov cocktail, Richard Attenborough hiding behind the sofa? Agatha Christie confronting Dennis, her killing him?
13. Stoppard and Stalker investigating, the background of the play, finding the invitations, their speeding to the mansion? And everything is solved?
14. Their going to the play together, Richard Attenborough promising them tickets? And Stoppard using the same script as the play in warning the audience not to reveal the murderer?
15. Stoppard and his award? Stalker topping her examinations? And a knighthood for the chief it Scotland Yard!