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This is no more clbadic: the domain of a British aristocrat, a dysfunctional family and a detective who plunges into this bubble to find out who committed the murder. This setting does not work for one, but for a handful of Christie novels. It is her laboratory, in which she lets her personal destinies collapse, in which she demonstrates the emotional coldness of the bourgeois world, in which she makes fun of her only in the first charming and charming way of the great dreams of the outbreak, yes never come true.
But no one is going to get them out, the broken elite, it's the same in "Crooked House", which begins this week in national cinemas. The old patriarch, seemingly quite a guy, dies of an injection – a poison instead of insulin – that was administered to him by a family member. But who put the poison in the bottle of insulin? Everyone could have done it.
Cinematic puzzle
For example, Lady Edith from Haviland, played by Glenn Close, a straightforward woman who does not overcome her undivided love for the Lord, her brother-in-law. Or Magda Leonides, a failed diva, where you have to watch carefully because of the black sphinx wig and Augenringelook to recognize Gillian Anderson. She and her writer may well need the inheritance to finally get out of it.
Sophia Leonides (Stefanie Martini), the granddaughter of the dead, wants to know and engage her ex (Max Irons), who resigned despite a promising start in the field of diplomacy and intelligence. He is soon followed by Sophia's little sister, the youngest granddaughter (Honor Kneafsey), an observer, through which the viewer plunges, layer after layer, into the very specific family jokes of the magnificent estate.
Reward at the end
The French director Gilles Paquet-Brenner (a slate largely virgin) has relied – not without justification – the theatrical talent of his troupe and renounced any reinterpretation or any other action. In the same way, the story could have been made 50 years ago. It's pretty irritating at first. As if you were not in the hit movie theater, but you ended up zapping into the third public law program on Monday morning, where old black-and-white films with no copyright are disseminated.
The pace of production is noticeably different from what you otherwise know in the cinema, not to mention the streaming platforms. It is conceivable that a young audience often looks at their smartphone, what time it is and how long it will take. In the final, however, everyone will be rewarded – as this is extremely unusual and surprising for Agatha-Christie relationships.
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