59 reviews
Most Odd
- chuffnobbler
- May 27, 2007
- Permalink
Very much worth seeking out
I just watched Julia McKenzie in the recent adaptation of the Christie novel, inserting Miss Marple where she was originally absent. I clicked on the IMDb and Amazon to learn more about the production and found that there had been a 1971 movie which hewed more closely to the original. A purchase of a used DVD gave me pleasure for my money. It's interesting to see how different script writers turned and twisted the basic story lines and how the movies surprised and shocked the viewer. I won't repeat the comments that have already been said on this forum about this '71 film, but I will emphasize the value of seeing the opening minutes again to pick up fat clues that might be missed on first viewing -- the footsteps heard in the Van Gogh museum and the statement of the mother later that her son had experienced something significant. The movie just seems to sail along making one wonder what the mystery is, what the crime was, until the revelations that suddenly come toward the end. Talk about the technique of the unreliable narrator in mystery stories! By the way, Jon Tuska in his great critical work THE DETECTIVE IN Hollywood casually dismisses this movie as not very good. He's wrong.
My Old Flame
Around 45 years ago, when I was just a young lad, Hayley Mills was my favorite actress, and her 1962 film "In Search of the Castaways" was my favorite film, but between this and that, I don't think I've seen Hayley in anything since 1965's "That Darn Cat." How nice, then, to see her, the other night, at age 26 in the 1972 British film "Endless Night," and to realize what a nubile nymph my old flame had turned into later in life! In this adaptation of a 1967 Agatha Christie novel, Hayley plays Ellie Thomsen, the 6th richest girl in the world, who, after one date with pretty-boy chauffeur Michael (excellently portrayed by Welsh actor Hywel Bennett), elopes with him and builds his dream house in the Herts countryside. It is hard to figure out what words best describe "Endless Night." It is not really a horror movie, or a love story, or a thriller, but certainly does have elements of all these types. The picture IS remarkably atmospheric, in no small measure due to yet another wonderfully evocative score by the great Bernard Herrmann, and should manage to baffle most viewers who are trying to figure out just where the story line is going. Besides the fine work by its two leads, veterans George Sanders (here in one of his last roles, and playing what his character self-describes as a "desiccated old poop") and Lois Maxwell add sterling support, and even Britt Ekland turns in a convincing performance as Ellie's tutor/companion. Throw in some gorgeous scenery in the Herts and Positano countrysides, a surprise final quarter hour that manages to subvert everything we thought we knew, and two or three mild scares and you've got yourself one very interesting entertainment. Kudos, indeed, to writer/director Sidney Gilliat! I just hope that I'm not foolish enough to wait another 40 years before watching Hayley Mills in another picture. Perhaps it's time for me to finally check out Hayley and Hywel in 1968's "Twisted Nerve"...IF it ever gets released on DVD!
Too slow to really be a thriller, but oddly interesting with terrific twist
Endless Night is one of those movies that is hugely flawed, and yet it sticks in the mind unlike many more polished movies. Extremely slow paced for much of it's length and with several sequences that feel almost unnecessary, and even a few which just seem wierd, the film than delivers a true knock out of a twist which makes one realise how well the story has been constructed. For this reason, in some respect it's more satisfying to watch the second time even if one is no longer surprised, because one can notice all the little clues that have been put in ,and many of the previously mentioned unnecessary or wierd bits seem more essential. There is, though, one huge red herring that seems rather pointless.
This was the last of the Hywell Bennett/Hayley Mills collaborations for the Boulting Brothers and it is possibly their most interesting. Cast are all excellent ,including George Sanders in one of his final roles, and this is just as well since the film is indeed extremely talky. The alternately eerie and romantic Bernard Herrmann score is very memorable, although they could have made sure Mills' singing voice [obviously dubbed] sounded like her normal voice.
Many will be unsatisfied with this film ,but try it if you fancy a somewhat different kind of thriller, even it's only really a thriller in the final half hour!
This was the last of the Hywell Bennett/Hayley Mills collaborations for the Boulting Brothers and it is possibly their most interesting. Cast are all excellent ,including George Sanders in one of his final roles, and this is just as well since the film is indeed extremely talky. The alternately eerie and romantic Bernard Herrmann score is very memorable, although they could have made sure Mills' singing voice [obviously dubbed] sounded like her normal voice.
Many will be unsatisfied with this film ,but try it if you fancy a somewhat different kind of thriller, even it's only really a thriller in the final half hour!
Christie psychothriller punctuated by memorable performances and eerie images
"Endless Night" follows working-class freewheeling chauffeur Michael (Hywel Bennett) who falls in love with a billionaire heiress Ellie (Hayley Mills). The two marry, and build a large estate on property in the English countryside known as Gypsy's Acre, which is purported by locals to be cursed land. After Ellie's relative Greta (Britt Ekland) arrives to stay, a series of bizarre events unfold, including ominous encounters with an elderly gypsy woman who roams the property.
Based on the Agatha Christie novel, director Sidney Gilliat takes the meat of Christie's novel and puts unique twinges on it that are reminiscent of Hitchcock (Bernard Herrmann's spooky score understates this). The film is admittedly slow, especially in exposition, and there are few quote-unquote thrills to be had, but I found this film strangely compelling in spite of its odd pacing.
There is a consistent sense of unease that permeates nearly every scene, although it's difficult to put your finger on what is exactly the cause. The photography in the film is fantastic, capturing the rolling landscapes and the cloudy skies surrounding the manor; this is punctuated by subtle scares that come in the form of various figures lurking below on the hillsides or in the woods, almost like indistinct figures in a painting. The film is at times reminiscent of English Gothic in its aesthetics, even though the house itself is very much "retro '70s" in both style and furnishings.
Solid performances from Hywel Bennett and Hayley Mills really shine here, with Mills being especially memorable as a good natured girl who happens to be a billionaire ("world's sixth richest!"). Britt Ekland is also great as the stalwart and fawning relative— her performance really comes full circle in the finale, which provides her the bulk of the role's dynamics, and she handles it fabulously. The conclusion to the film is fairly routine by contemporary standards, although I can honestly say that I didn't see the plot twists coming, so props to Christie and the filmmakers' handling of the material— I was definitely had by the film.
Overall, "Endless Night" is an enjoyable and well-acted picture that seems to have been forgotten in time. It is too slow to qualify as a full-blooded thriller, but there are tinges of a British psychothriller here with some genuinely bizarre and eerie moments that stand out among effective cinematography and a disquieting score. In spite of the film's lackluster pacing, it is unexpectedly transfixing, and manages to hold one's attention until the head twisting finale. 7/10.
Based on the Agatha Christie novel, director Sidney Gilliat takes the meat of Christie's novel and puts unique twinges on it that are reminiscent of Hitchcock (Bernard Herrmann's spooky score understates this). The film is admittedly slow, especially in exposition, and there are few quote-unquote thrills to be had, but I found this film strangely compelling in spite of its odd pacing.
There is a consistent sense of unease that permeates nearly every scene, although it's difficult to put your finger on what is exactly the cause. The photography in the film is fantastic, capturing the rolling landscapes and the cloudy skies surrounding the manor; this is punctuated by subtle scares that come in the form of various figures lurking below on the hillsides or in the woods, almost like indistinct figures in a painting. The film is at times reminiscent of English Gothic in its aesthetics, even though the house itself is very much "retro '70s" in both style and furnishings.
Solid performances from Hywel Bennett and Hayley Mills really shine here, with Mills being especially memorable as a good natured girl who happens to be a billionaire ("world's sixth richest!"). Britt Ekland is also great as the stalwart and fawning relative— her performance really comes full circle in the finale, which provides her the bulk of the role's dynamics, and she handles it fabulously. The conclusion to the film is fairly routine by contemporary standards, although I can honestly say that I didn't see the plot twists coming, so props to Christie and the filmmakers' handling of the material— I was definitely had by the film.
Overall, "Endless Night" is an enjoyable and well-acted picture that seems to have been forgotten in time. It is too slow to qualify as a full-blooded thriller, but there are tinges of a British psychothriller here with some genuinely bizarre and eerie moments that stand out among effective cinematography and a disquieting score. In spite of the film's lackluster pacing, it is unexpectedly transfixing, and manages to hold one's attention until the head twisting finale. 7/10.
- drownsoda90
- May 8, 2015
- Permalink
Wonderful
True-blue Agatha Christie fans know better than anyone that the creator of Miss Marple and Hercule Poirot did not always write crime-solving procedural. Endless Night, published in 1968, is a perfect example of the moody, psychological thriller Christie sometimes explored, particularly in the late years of her career. This 1972 adaptation, scripted and directed by seasoned British filmmaker Sidney Gilliat, is indeed a strange duck: a compelling tale of small, unsettling phenomena and events, but with no defining mystery, no apparent crime to pull the details together--not until quite late in the story, that is. Hayley Mills and Hywel Bennett, partnered together in several films (The Family Way, Twisted Nerve) during the 1960s and '70s, play an American heiress and an underemployed London chauffeur who marry and move into a dream house designed for them by a world-class architect (Per Oscarsson). In short order, things begin to get mighty weird. A crazy old woman stomps around the couple's property, whispering ambiguous warnings. The bride's nuisance of a sister (Britt Ekland) moves in, and a handful of disapproving relatives keep popping up to belittle the hero. Where this is all leading is entirely unexpected--Christie and Gilliat really have us falling without a parachute for a while--yet it's exciting and tragic all at once. Nice performances all around, with special admiration for Oscarsson's role as the dying architect.
- Gunnar_Runar_Ingibjargarson
- Jun 19, 2008
- Permalink
Anomalous dark Christie romance/mystery
How old was Agatha Christie when she wrote this? Pushing 70? She was pretty old, about my age, and that might account for the tragic emotional tonus of this story.
You wouldn't know this was a Christie story if it weren't so advertised. True, there are some of the usual themes -- British class distinctions, extreme wealth, jealousy, poison -- but they are submerged by a love story that seems at first to be going nowhere fast. The story lacks any of the novelist's usual subtle wit.
No point in spelling out the plot in any detail. A poor chauffeur-for-hire meets a blond sylph and they fall for each other. He discovers that she is the sixth richest girl in the world, her coming-of-age party having been covered in the newspapers, and he rejects her because, as he says, "I have my pride." (The audience may be forgiven for a few muffled chuckles at this point.) She dies under mysterious circumstances while riding. In these circles, "riding" is taken to mean horseback riding. He inherits the money. And things thereafter go a little berserk without there being a hell of a lot in the way of motivation.
The film is narrated by the young man, Michael (Bennett). At first his story seems perfectly reasonable and he is presented as a fellow of principle if not money. Hayley Mills is introduced in a filmy white dress, her long blonde hair wafted by the breeze as she capers alone in a meadow, slender limbs, radiantly healthy, and -- well, you know the type. Eminently edible. But Michael's story, though it begins normally enough, describing the approach-avoidance conflict from which he suffers, being in love with Mills and yet resenting her wealth, gradually changes.
He becomes less and less reasonable, and less nice. He's impolite to Greta (Eklund), Mills' tutor and possessive friend. Greta is often described as "bossy" but frankly her supposed obsession with power isn't well shown. There is just one argument -- a slightly bitchy one -- between Greta and Michael over the placement of a more than usually ugly statue of a cat. What evidence we see of her bossiness is rather weak tea. If they're going to have a domineering German nurse, couldn't the nurse and Hayley Mills have had a little consensual flagellation or something? The climax seems to come out of thin air. A sudden unmotivated reversal of the character of Michael.
It's not a bad movie though. Romance, yes, but a romance filled somehow with uneasiness and a gradually growing sense of dread. And when I first watched this and heard the first few notes of the score, I thought, "OMG, the composer is ripping off Bernard Hermann note for note." It turned out to BE Hermann, and a very effective Hermann at that, full of an eerie melancholy.
Maybe the reason it leaves a viewer feeling sad is that Christie seems to be stretching her talent so much trying to achieve "significance." And for the first time I'm aware of, we actually care about the character who dies, whereas in previous stories the victim was nothing more than a stereotype who, once gone, was forgotten. The death was only a pivot on which the remainder of the story could turn. Here, it's really too bad.
You wouldn't know this was a Christie story if it weren't so advertised. True, there are some of the usual themes -- British class distinctions, extreme wealth, jealousy, poison -- but they are submerged by a love story that seems at first to be going nowhere fast. The story lacks any of the novelist's usual subtle wit.
No point in spelling out the plot in any detail. A poor chauffeur-for-hire meets a blond sylph and they fall for each other. He discovers that she is the sixth richest girl in the world, her coming-of-age party having been covered in the newspapers, and he rejects her because, as he says, "I have my pride." (The audience may be forgiven for a few muffled chuckles at this point.) She dies under mysterious circumstances while riding. In these circles, "riding" is taken to mean horseback riding. He inherits the money. And things thereafter go a little berserk without there being a hell of a lot in the way of motivation.
The film is narrated by the young man, Michael (Bennett). At first his story seems perfectly reasonable and he is presented as a fellow of principle if not money. Hayley Mills is introduced in a filmy white dress, her long blonde hair wafted by the breeze as she capers alone in a meadow, slender limbs, radiantly healthy, and -- well, you know the type. Eminently edible. But Michael's story, though it begins normally enough, describing the approach-avoidance conflict from which he suffers, being in love with Mills and yet resenting her wealth, gradually changes.
He becomes less and less reasonable, and less nice. He's impolite to Greta (Eklund), Mills' tutor and possessive friend. Greta is often described as "bossy" but frankly her supposed obsession with power isn't well shown. There is just one argument -- a slightly bitchy one -- between Greta and Michael over the placement of a more than usually ugly statue of a cat. What evidence we see of her bossiness is rather weak tea. If they're going to have a domineering German nurse, couldn't the nurse and Hayley Mills have had a little consensual flagellation or something? The climax seems to come out of thin air. A sudden unmotivated reversal of the character of Michael.
It's not a bad movie though. Romance, yes, but a romance filled somehow with uneasiness and a gradually growing sense of dread. And when I first watched this and heard the first few notes of the score, I thought, "OMG, the composer is ripping off Bernard Hermann note for note." It turned out to BE Hermann, and a very effective Hermann at that, full of an eerie melancholy.
Maybe the reason it leaves a viewer feeling sad is that Christie seems to be stretching her talent so much trying to achieve "significance." And for the first time I'm aware of, we actually care about the character who dies, whereas in previous stories the victim was nothing more than a stereotype who, once gone, was forgotten. The death was only a pivot on which the remainder of the story could turn. Here, it's really too bad.
- rmax304823
- Oct 2, 2005
- Permalink
Would-be Hitchcock
The last film made by the illustrious Launder & Gilliat team is a psycho-thriller that desperately wants to be praised as "Hitchcockian" and even recruits Bernard Herrmann, Hitch's favourite composer, to write the score. Perhaps the Hitchcock film it most resembles, however, is "Frenzy" both seem to be the work of ageing filmmakers trying to get "with it".
"Endless Night" is extremely faithful to Agatha Christie's source novel (it may be the closest-ever filming of one of her novels) but neither of the two protagonists seem to come across with the same conviction that they do in the book. Hayley Mills struggles with a difficult part (Ellie is a fairly insipid character) while Hywel Bennett somehow never convinces as the enigmatic Michael.
There's lots of fun spotting familiar faces in the supporting cast, including an uncredited Nicholas Courtney (the Brigadier from "Doctor Who") as the auctioneer. Per Oscarsson is good as the insightful architect Santonix, who guesses something of what is going on, although our admiration for him is lessened by the hideously vulgar house he builds (which all the characters acclaim as a masterpiece!) I can't help wondering what Dame Agatha's loyal fans made of this film; the setting in an idyllic corner of rural England is traditional enough but the atmosphere is a great deal darker than usual. The novel, written in 1967, represented quite a bold departure for the writer (and a successful one) but the film at times descends into banality. Having said that, the twee nature of Ellie and Michael's romance gives the conclusion much more impact and the final images are startling.
"Endless Night" is extremely faithful to Agatha Christie's source novel (it may be the closest-ever filming of one of her novels) but neither of the two protagonists seem to come across with the same conviction that they do in the book. Hayley Mills struggles with a difficult part (Ellie is a fairly insipid character) while Hywel Bennett somehow never convinces as the enigmatic Michael.
There's lots of fun spotting familiar faces in the supporting cast, including an uncredited Nicholas Courtney (the Brigadier from "Doctor Who") as the auctioneer. Per Oscarsson is good as the insightful architect Santonix, who guesses something of what is going on, although our admiration for him is lessened by the hideously vulgar house he builds (which all the characters acclaim as a masterpiece!) I can't help wondering what Dame Agatha's loyal fans made of this film; the setting in an idyllic corner of rural England is traditional enough but the atmosphere is a great deal darker than usual. The novel, written in 1967, represented quite a bold departure for the writer (and a successful one) but the film at times descends into banality. Having said that, the twee nature of Ellie and Michael's romance gives the conclusion much more impact and the final images are startling.
A bizarre screen adaptation of an Agatha Christie novel
Hayley Mills gets top billing, although Hywel Bennett gets the most screen time, as he 'tells' the story of how he met Mills. Bennett was a sort of ne'er do well chauffeur who considered himself quite the authority on art, meets really rich girl Mills,and to make a long disjointed story short,they marry.
There are a horde of relatives and neighbors who you think might have something to do with something, but they just wander in and out. Mills, who has a difficult time with her 'Anmerican' accent, only trusts one person--Britt Ekland (she was hired as a German tudor, but stayed on as 'companion') The only 'relative' who gets any scenes at all is George Sanders, an advisor she calls 'uncle'.
Usually so paced and cool, you get the uncomfortable feeling Sanders is in an uncharacteristic hurry to get his lines out. Anyway,there's an overly emotional architect (Per Oscarsson) who designs a modern house for them, and a strange old lady who just hovers around after warning them not to move there. The house has lots of interesting features (like a swimming pool under the living room floor) controlled by a giant clicker, and the furnishings are an odd combo of old-world art and wrought iron next to track lighting and chrome.
Three of the characters end up dead, and despite watching the death bed scene of Oscarsson twice, I still don't get why he's dying. Mills, despite the dialect problems, is the only one that turned in much of a performance here,Bennett is just okay, and Ekland, a really beautiful woman, is pretty bad (she does have one screaming scene that's believable). Frequent flashes of images don't add a thing and the whole production just feels jerky. Despite the label 'drama/mystery/horror', don't expect much of any. The only horror is the presence of what are referred to as 'wasps' at a party, but close-ups show they are just honeybees--even the bugs were badly miscast. I can't recommend this one, even to die-hard Christie fan.
There are a horde of relatives and neighbors who you think might have something to do with something, but they just wander in and out. Mills, who has a difficult time with her 'Anmerican' accent, only trusts one person--Britt Ekland (she was hired as a German tudor, but stayed on as 'companion') The only 'relative' who gets any scenes at all is George Sanders, an advisor she calls 'uncle'.
Usually so paced and cool, you get the uncomfortable feeling Sanders is in an uncharacteristic hurry to get his lines out. Anyway,there's an overly emotional architect (Per Oscarsson) who designs a modern house for them, and a strange old lady who just hovers around after warning them not to move there. The house has lots of interesting features (like a swimming pool under the living room floor) controlled by a giant clicker, and the furnishings are an odd combo of old-world art and wrought iron next to track lighting and chrome.
Three of the characters end up dead, and despite watching the death bed scene of Oscarsson twice, I still don't get why he's dying. Mills, despite the dialect problems, is the only one that turned in much of a performance here,Bennett is just okay, and Ekland, a really beautiful woman, is pretty bad (she does have one screaming scene that's believable). Frequent flashes of images don't add a thing and the whole production just feels jerky. Despite the label 'drama/mystery/horror', don't expect much of any. The only horror is the presence of what are referred to as 'wasps' at a party, but close-ups show they are just honeybees--even the bugs were badly miscast. I can't recommend this one, even to die-hard Christie fan.
Very good - even better on the second viewing
- gridoon2024
- Jul 31, 2009
- Permalink
And I Thought "Twisted Nerve" Was Bad!
This is worse, if that's possible. Even the Bernard Herrmann score can't redeem this one. Hayley Mills and Hywel Bennett have to be among the least charismatic movie couples. Hayley should have taken the part of Lolita when Kubrick offered it to her; maybe her career would have turned in the right direction. And speaking of direction, Sidney Gilliat shows no affinity for it here; the scenes are sloppy, disjointed and, worst of all, boring. The supposed supernatural elements of the story went right over my head, as did much of the plot (maybe I was asleep). I'm giving the film two stars for that "modern" house! Despite being a total cheesefest, it's the most fascinating thing in the whole movie.
Very entertaining
I don't agree at all with the poor reviews of this movie. I first saw this movie years ago and it stayed in my mind and finally I had the pleasure of finding it on dvd so I ordered it. It's probably my favourite dvd I have so far. It's a low-budget movie but yet it's a movie with a lot of class. The actors give great performances, above all Hayley Mills, and Bernard Herrmans score is sensational. It's a beautiful production and at times it made me think of "vertigo", and not only because herrman wrote the theme to that movie too. I love this movie! Sure they could make a billion dollar remake of it with a lot of stars but it still wouldn't beat this. It's a piece of art.
- halfcolombian
- Aug 4, 2002
- Permalink
Surprising twists & turns!
Should be named Endless Movie
My wife and I both love movies from the 70's, British films, Agatha Christie and are always more than willing to appreciate camp. However, this film was terrible. It reminded me of a movie length Night Gallery episode and I don't mean one of the better ones.
I knew we were in trouble when they set the tone by simply showing the ocean breaking on the rocky shoreline for the entire opening credits. It was very slow and never drew me into the characters. Multiple times my wife said, "This does not seem like a Christie film." By the time the "twist" finally arrived, I was much more interested in being done with the film than I was who committed the murder and how.
I read where some tried to compare this film with Hitchcock, but this film wouldn't even match up to Hammer.
The real murder was the killing of almost two hours of my time.
I knew we were in trouble when they set the tone by simply showing the ocean breaking on the rocky shoreline for the entire opening credits. It was very slow and never drew me into the characters. Multiple times my wife said, "This does not seem like a Christie film." By the time the "twist" finally arrived, I was much more interested in being done with the film than I was who committed the murder and how.
I read where some tried to compare this film with Hitchcock, but this film wouldn't even match up to Hammer.
The real murder was the killing of almost two hours of my time.
- tomhunter8
- May 30, 2007
- Permalink
Not so great if you're an Agatha Christie fan
I won't say it's a bad film, but I have to believe the liberties taken with the adaptation of the story go well beyond the nudity and modern setting. (I will say that the house with the remote-controlled indoor swimming pool in the living room was a bit over the top.)
I will confess that I did not guess the direction the plot would take, but what was so disappointing was the profusion of loose ends and entirely pointless characters. Agatha didn't usually write them that way - everyone ended up with a role in the outcome of the story. Here we are presented with in-laws, neighbors, family friends, and a mysterious old woman --- all of whom have nothing at all to do with the resolution of the story. Most of them could have been omitted entirely and the story would have been essentially unchanged.
My DVD even featured an editing error: about 10 seconds of the film repeat precisely (when the girl's parents are observed getting back into their car to leave.)
There is also a broken window that is never explained, a ghostly appearance that is never accounted for or revisited, a car is observed to take an unusually long to get somewhere - but we are never given the significance. An architect seems to know things the audience does not -- yet no explanation is offered of how he knows them.
Like Agatha's best writing, characters and clues and complications pile up... but then they are inexplicably thrown away in favor of an unexpected, yet rather anticlimactic resolution.
I will confess that I did not guess the direction the plot would take, but what was so disappointing was the profusion of loose ends and entirely pointless characters. Agatha didn't usually write them that way - everyone ended up with a role in the outcome of the story. Here we are presented with in-laws, neighbors, family friends, and a mysterious old woman --- all of whom have nothing at all to do with the resolution of the story. Most of them could have been omitted entirely and the story would have been essentially unchanged.
My DVD even featured an editing error: about 10 seconds of the film repeat precisely (when the girl's parents are observed getting back into their car to leave.)
There is also a broken window that is never explained, a ghostly appearance that is never accounted for or revisited, a car is observed to take an unusually long to get somewhere - but we are never given the significance. An architect seems to know things the audience does not -- yet no explanation is offered of how he knows them.
Like Agatha's best writing, characters and clues and complications pile up... but then they are inexplicably thrown away in favor of an unexpected, yet rather anticlimactic resolution.
Curious but worth a look
Enjoyable, Intriguing, and Disjointed
- BaronBl00d
- Jun 2, 2012
- Permalink
Unusual Agatha Christie fare, not for all tastes
1972's "Endless Night" was the final chapter in the career of screenwriter Sidney Gilliat, a Hitchcock collaborator on "The Lady Vanishes" and "Jamaica Inn," and the last of 14 projects that he actually directed. Teamed for a third time are former Disney starlet Hayley Mills and Hywel Bennett, coming off his bawdy hit "Percy," cast as they were in "The Family Way," a newlywed couple just beginning their lives together. This being an adaptation of one of Agatha Christie's last novels (issued in 1967), things kick off with Bennett's Michael Rogers narrating his dramatic story from the confines of an institution, a doctor eager to get to the bottom of a mystery that proves to be confounding to the viewer long after the picture ends. A small time drifter with grandiose dreams of one day living at his favorite location on the Welsh coast, a magnificent hillside overlooking the sea called 'Gipsy's Acre,' where Michael first encounters Hayley Mills as American Fenella Thomsen joyously dancing in front of his admiring camera; they hit it off quickly then meet again in a few weeks, by which time he learns that this beautiful, orphaned girl is the '6th wealthiest person in the world,' with a grasping family of busybodies eager to buy him off once the two elope to be wed. Despite the cryptic warnings of a dour old woman, Michael's lavish dream house is built at 'Gipsy's Acre' by his friend, renowned architect Rudolf Santonix (Per Oscarsson), who himself is clearly infatuated with the bride, known as 'Ellie' to her friends. George Sanders makes a welcome appearance as family solicitor Andrew Lippincott, a more humorous buttress for the groom than her immediate family, a disapproving stepmother (Lois Maxwell), flippant stepfather (Peter Bowles), and German tutor Greta (Britt Ekland), whom Ellie adores yet everyone else shuns due to her overbearing nature. Childhood flashbacks reveal our narrator as a wannabe actor with daddy issues, whose own mother doesn't trust him; Michael seemingly has everything a man could want plus a loving wife as well, but when 'some are born to endless night,' darkness is predestined to reign over this sunny landscape (Hayley Mills is so captivating that we do fear for her safety). The hillside location was actually the Isle of Wight, all house interiors an indoor set, shooting in June and July 1971 but not released for over a year, after the suicide of an ailing George Sanders. His role is unfortunately brief, followed by two more in Peter Sasdy's "Doomwatch" and Don Sharp's "Psychomania," fearing hints of dementia in his old age and signing off in fitting fashion with a suicide note proclaiming, "I am leaving because I am bored."
- kevinolzak
- Dec 15, 2022
- Permalink
Patience and long attention spans required!
Well, this definitely wasn't what I initially expected, but nonetheless "Endless Night" is a respectable and slow-brooding mystery thriller from the pen of the legendary Agatha Christie. This is actually one of those films of which the impact mainly comes afterwards, when the subject matter had its time to sink in. It probably won't ever become one of my personal favorite thrillers because the pacing is too slow, the screenplay is overly talkative and there aren't any memorable shock sequences, but you have got to admire director Sidney Gilliat's skills of suspense-building and generating an ominous atmosphere. I primarily wanted to watch "Endless Night" because it reunites the two lead players of the marvelous British shock-picture "Twisted Nerve" (Hywel Bennett and the indescribably ravishing Hayley Mills) and then additionally features no less than Britt Ekland ("The Wicker Man") and George Sanders ("Village of the Damned"). Great British cast, to say the least.
Michael Rogers is a poor chauffeur with great ambitions and nearly unrealizable dreams. The building of his dream house on a fantastic piece of landscape suddenly becomes possible when he starts dating the sixth richest girl in the world without even being aware of it! Obviously Ellie's family and financial counselors heavily protest against her relationship with the undoubtedly greedy young lad, but the couple conquers all relationship tests and stick together. Still, once they are settled on their dreamy hillside, mysterious events begin to occur. Ellie receives visits from an uncanny and crazy cat-lady (who very well may have been the inspiration for the character in "The Simpsons" with the same name) and offers shelter to her childhood nanny Greta even though she clearly doesn't get along with Michael. For a very long time approximately two thirds of the whole film you will wonder where Agatha Christie is going with the plot. "Endless Night" only turns into a mystery thriller during the last fifteen minutes. All the foregoing is actually just relationship drama and moody psychological studies. The remotely infamous twist near the end is indeed quasi unpredictable, but also highly implausible in my humble opinion. Obviously I can't write too much without revealing essential key information, but if a man is put to the choice between a beautiful rich girl and a beautiful poor girl it isn't such a tough decision.
Michael Rogers is a poor chauffeur with great ambitions and nearly unrealizable dreams. The building of his dream house on a fantastic piece of landscape suddenly becomes possible when he starts dating the sixth richest girl in the world without even being aware of it! Obviously Ellie's family and financial counselors heavily protest against her relationship with the undoubtedly greedy young lad, but the couple conquers all relationship tests and stick together. Still, once they are settled on their dreamy hillside, mysterious events begin to occur. Ellie receives visits from an uncanny and crazy cat-lady (who very well may have been the inspiration for the character in "The Simpsons" with the same name) and offers shelter to her childhood nanny Greta even though she clearly doesn't get along with Michael. For a very long time approximately two thirds of the whole film you will wonder where Agatha Christie is going with the plot. "Endless Night" only turns into a mystery thriller during the last fifteen minutes. All the foregoing is actually just relationship drama and moody psychological studies. The remotely infamous twist near the end is indeed quasi unpredictable, but also highly implausible in my humble opinion. Obviously I can't write too much without revealing essential key information, but if a man is put to the choice between a beautiful rich girl and a beautiful poor girl it isn't such a tough decision.
A hard nut to crack
- keith-moyes-656-481491
- Aug 23, 2012
- Permalink
Extremely Flawed...BY THE LEADS
Absoltely horrible
There are not enough bad adjectives to describe how horrible this film is. Regardless of how faithful it is to Ms. Christie's book, the film is terrible. The acting stinks. The scenery is so fake in many scenes that the only enjoyable part of the movie is laughing at how bad the backgrounds are. There is no emotional bond developed to any of the characters. Except for basic instincts of humanity, I couldn't have cared less if all of the characters died. Finally, there is no twist at the end as other reviewers have indicted that there is. If anyone did not see the ending coming, they were too distressed by the horrible acting to pay attention to the story.
There is a reason the movie was not released in America - it's abysmal! I wish that I could charge the producers for the lost hour and one-half of my life. I would rate it as a negative infinity if I could.
There is a reason the movie was not released in America - it's abysmal! I wish that I could charge the producers for the lost hour and one-half of my life. I would rate it as a negative infinity if I could.
- webcrap-641-167483
- Mar 22, 2013
- Permalink
Gripping, unusual Agatha Christie mystery. Splendid on all counts.
One of the rare, gratifying occasions when a mediocre book is transformed by experts into a first-rate, memorable movie. "Endless Night" was one of Agatha Christie's last novels--also one of her least satisfying. A macabre romance about a wealthy young American heiress (the glorious Hayley Mills in a mesmerizing, haunting performance) who falls in love with and impulsively marries her sexy albeit mysterious chauffeur (the wonderfully versatile Hywell Bennett who teamed with Ms. Mills in two previous films, the tender comedic drama "The Family Way" and the still-shocking psychosexual thriller "The Twisted Nerve").
The happy lovebirds build their dreamhouse (still an architectural wonder) in England's remote Lake District (lusciously photographed in stunning Technicolor), away from the prying eyes of her avaricious relatives, and their tenderly rendered love story seems headed for a deserved happy ending--until the final reel suddenly reveals a totally unexpected twist that I guarantee will astound even the most astute mystery buff, and leave the hapless viewer in a state of shaken anxiety and sadness. Such an unusual denoument didn't work on the printed page; on film it's a bona fide shocker, thanks to the mastery of its two leads, a knockout turn by the stunning Britt Ekland (as one of Ms. Mills' parasitic relatives), the expert direction by Sidney Gilliatt, and the magificently eerie soundtrack by Bernard Herrmann, no less. "Endless Night" was never released theatrically in the U.S. Properly promoted, it would have made a boxoffice killing. I caught its American premiere on a pay-cable station, expecting nothing (the book was hopeless) and, much to my amazement, finding myself enthralled by this classy artistic treat. Psychological thrillers don't come any better than "Endless Night," which lulls the viewer into a state of bliss not unlike its romantic leads--until the startlingly savage twist ends the film with a disturbing (and heartbreaking) resonance. Hywell Bennett and the grown-up Hayley Mills were two of the finest (not to mention comeliest) young British actors of the late '60s and early '70s, and "Endless Night" might well be their most memorable hour-and-a-half. A must-see for mystery buffs; highly recommended for everyone else.
The happy lovebirds build their dreamhouse (still an architectural wonder) in England's remote Lake District (lusciously photographed in stunning Technicolor), away from the prying eyes of her avaricious relatives, and their tenderly rendered love story seems headed for a deserved happy ending--until the final reel suddenly reveals a totally unexpected twist that I guarantee will astound even the most astute mystery buff, and leave the hapless viewer in a state of shaken anxiety and sadness. Such an unusual denoument didn't work on the printed page; on film it's a bona fide shocker, thanks to the mastery of its two leads, a knockout turn by the stunning Britt Ekland (as one of Ms. Mills' parasitic relatives), the expert direction by Sidney Gilliatt, and the magificently eerie soundtrack by Bernard Herrmann, no less. "Endless Night" was never released theatrically in the U.S. Properly promoted, it would have made a boxoffice killing. I caught its American premiere on a pay-cable station, expecting nothing (the book was hopeless) and, much to my amazement, finding myself enthralled by this classy artistic treat. Psychological thrillers don't come any better than "Endless Night," which lulls the viewer into a state of bliss not unlike its romantic leads--until the startlingly savage twist ends the film with a disturbing (and heartbreaking) resonance. Hywell Bennett and the grown-up Hayley Mills were two of the finest (not to mention comeliest) young British actors of the late '60s and early '70s, and "Endless Night" might well be their most memorable hour-and-a-half. A must-see for mystery buffs; highly recommended for everyone else.
Night without Miss Marple
Certainly wanted it to end
This was the last film directed by Sidney Gilliat. It is a shame it was such a misfire. The film is an adaptation of an Agatha Christie novel. This is important, because as I watched this I kept on thinking when would the mystery start?
Michael Rogers (Hywel Bennett) is a working class chauffeur who ends up falling for a rich American girl, Ellie Thomsen (Hayley Mills) dubbed the sixth richest woman in the world. Micheal always had an eye for a mansion in the countryside, his dream comes true once he marries Ellie, She funds the building of the mansion from a Swedish architect. However the land is supposedly cursed by the gypsies and their are strange visitations.
Life should be blissful for Michael, but Ellie's family disapprove of the marriage. They think Michael is a social climber who only married Ellie for her money. The family's charming lawyer 'Uncle Andrew' (George Sanders) offers to buy off Michael. When Ellie's friend Greta (Britt Ekland) arrives to stay, it causes friction as Greta and Michael dislike each other.
Wedded bliss does not last long for Michael as someone dies but even then there is no mystery because it is just a tragic incident.
The film is dreadful. It goes on at a leisurely pace with endless scenes of the countryside. The acting is flat even from Bennett. Only Sanders shows some spirit in what was one of his final roles.
The biggest problem is whether the film is supposed to be a murder mystery or a supernatural mystery? The reveal only comes in the last 15 minutes. The casting of Britt Ekland who was a sex symbol in the 1970s might give the viewer of clue as to where the film is heading.
Michael Rogers (Hywel Bennett) is a working class chauffeur who ends up falling for a rich American girl, Ellie Thomsen (Hayley Mills) dubbed the sixth richest woman in the world. Micheal always had an eye for a mansion in the countryside, his dream comes true once he marries Ellie, She funds the building of the mansion from a Swedish architect. However the land is supposedly cursed by the gypsies and their are strange visitations.
Life should be blissful for Michael, but Ellie's family disapprove of the marriage. They think Michael is a social climber who only married Ellie for her money. The family's charming lawyer 'Uncle Andrew' (George Sanders) offers to buy off Michael. When Ellie's friend Greta (Britt Ekland) arrives to stay, it causes friction as Greta and Michael dislike each other.
Wedded bliss does not last long for Michael as someone dies but even then there is no mystery because it is just a tragic incident.
The film is dreadful. It goes on at a leisurely pace with endless scenes of the countryside. The acting is flat even from Bennett. Only Sanders shows some spirit in what was one of his final roles.
The biggest problem is whether the film is supposed to be a murder mystery or a supernatural mystery? The reveal only comes in the last 15 minutes. The casting of Britt Ekland who was a sex symbol in the 1970s might give the viewer of clue as to where the film is heading.
- Prismark10
- Apr 18, 2017
- Permalink