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Yes, I Do
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Yes, I Do

Yes, I Do

On November 24, a new adaptation of Murder on the Orient Express was released with great success, based on the popular novel by Agatha Christie and which was a great success for Fox. So much so that they are already preparing the adaptation of Death on the Nile , Unforgiven so that it acts as a sequel to it and is the next chapter of Hercule Poirot’s cinematographic aventuras. In addition, last April came to our rooms The Crooked House, another adaptation of a Christie story written by Julian Fellowes (responsible for Downton Abbey and the Godsford Park script), directed by Guilles Paquet-Brenner and starring Christina Hendricks , Gillian Anderson, Glenn Close and Max Irons, among others. The film told us the story of a mansion with an inclined structure belonging to Aristides Leonides, a Greek billionaire, who lives there with his entire family that spans up to three generations. When Aristides appears poisoned, the routine of the mansion is truncated as it is suspected that the culprit is someone in the family. The case will be complicated by more deaths and the fact that everyone has a reason to kill him and nobody has a solid alibi. The tape promised more than what it ends up giving; a flat accomplishment and a reluctant production that, even the trade and professionalism of Glenn Close can not lift.

This type of detective stories in which the murderer has to be discovered and which, normally, take place in high society, is called whodunit, a genre that Agatha Christie was commissioned to put on fashion and elevate to the altars. Notably, the masterpiece of this genre, The mousetrap, Christie’s theatrical work is the longest montage in history and has been performed in London continuously Koode since 1952. In its many adaptations to the cinema, with more or less success, adaptations whodunit films have also enjoyed some recognition, mainly in the seventies, with titles such as Murder in the Orient Express or Death in the Nile. Such was the proliferation of film and television adaptations of these detective / police novels and some derivatives , who soon parodied the genre in a hilarious satire entitled A corpse to desserts, with an excellent screenplay by Neil Simon. Satire to which the genre itself was prone, due to certain narrative resources that ended up becoming a cliché and to which it was very difficult to resist not parody.

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