Reviews (1)

"This whole valley is a sort of extended nuthouse."
Film versions of novels fascinate me in a very general sense. I am always interested to see how the screenwriter and director chose to interpret a book I've enjoyed. Of course, like many people, I am usually disappointed in the film versions of much-loved books. Happily, I can easily say that I was not disappointed in "Unexplained Laughter"--the film based on the novel by Alice Thomas Ellis. When I discovered that Diana Rigg starred in the film--taking the role of the main character, Lydia, well I just wasn't going to be satisfied until I saw the film.

Lydia--a middle-aged writer--retreats to her cottage in a remote part of Wales. Lydia is trying to recover (in her own inimitable fashion) from a failed romance with the faithless Finn. For some obscure reason (that not even Lydia can fathom) she drags along acquaintance, "volunteer Samaritan" Betsy for the trip. The two women are complete opposites. Lydia is world-weary, full of marvelous one-liners. She doesn't believe in most of the things other people believe in, and she has a tendency to scandalize poor Betsy. The ability to flummox Betsy gives Lydia a sort of savage satisfaction. Betsy has a very rosy image of the world--she's arrived at middle age with her values and belief system intact mainly because she manages to hear what she wants to, and thus she avoids the more unpleasant aspects of life. Lydia, however, has an uncanny knack for reading people, and with this talent she analyzes--unmercifully--some of the locals. Although Lydia plans a "get-away-from-it-all-holiday" she finds herself in a nest of local intrigue--adultery, secrets, and broken love affairs.

The film "Unexplained Laughter" placed more emphasis on the supernatural element within the story. The ghostly laughter that Lydia hears (and Betsy doesn't) is much more unsettling somehow in the film. Some of the best scenes in the novel were cut to a bare minimum, but that was acceptable. One expects some things to be sacrificed--but the essence of the novel remains intact, and the film version managed to convert the story to an extremely watchable film. The film quite rightly takes advantage of the visual. The countryside was beautiful--and yet mysterious too. Diana Rigg as Lydia delivers a stellar performance. Her contempt for the lascivious Doctor shows with a cast of her eyes, and a slight flare to her nostrils. Sarcasm drips so easily from Rigg as she delivers line after cutting line. There's one point when the Doctor declines tea and asks instead for an alcoholic drink. Diana Rigg modestly and regretfully claims there's "not a drop in the house"--while she stashes a bottle of vodka. Rigg's portrayal of Lydia creates a character who was exactly as I had imagined. The supporting cast all gave excellent performances--and even Bueno (and I think he is a particularly difficult character to cast) was quite perfect. Fans of the Alice Ellis Thomas novel, do yourselves a giant favour and seek out a copy of this film. You will not be disappointed--displacedhuman ... Read more

Description

From the greatest mystery writer of our time comes a classic tale ofdeath and deception.P.D. James' chilling mysteries have earned her the title "the Queenof Crime," and A MIND TO MURDER is one of her most celebrated stories ever.Thisbrilliant dramatization of the bestselling tale stars veteran British actor Roy Marsden inthe role of Scotland Yard Commander Adam Dalgliesh. In an exclusive Englishpsychiatric clinic, where MPs crack up discreetly and movie stars dry out in style, amacabre murder has taken place.But when Dalgliesh is assigned to the case, he becomestangled in a web of political intrigue, blackmail and deceit.Is there anyone he can trustwith the truth? ... Read more

Reviews (3)

A mind to assess PD James
"A Mind to Murder" is based on James' second (1963) novel, video-taped in 1996. Having never read her novels, but after repeated critical viewings of this and related TV productions, this reviewer reluctantly concludes that James' work is unfortunately not in the same league as that of other prominent mystery writers whose work has been moved to the small screen.

James' major writing flaw is that she frequently (almost always?) begins with the key murder having taken place. With no well-considered and interesting introductory characterizations and interplay in advance of the main events, we never get to enjoy the delicious anticipatory speculation (like one gets in a Christie) as to who is going to "get it", when, and maybe even who's next and why? (But then Christie was a grand master of the art!) There is no opportunity to engage with the victim before the crime. We cannot witness in time sequence the suspect interactions: their sizzling and fascinating cross-dialog, their threats, their hates, their MOTIVATIONS, building up to the point of murder. Subsequent to the murder, no prior suspect characterizations exist upon which to build. There are no delicious denouements where scenes are replayed showing what "really happened." With James, what we get is nothing more than a dry formulaic recitation of the relationships and circumstances that lead to the murder, presented retrospectively in a series of boring, dull he-said-she-said talking head exchanges amongst Dalgliesh and a horde of strangers, including his assistants of the moment. With none of these can one even remotely identify. Hanging over all of this like a wet blanket is James' cold, impersonal style, best characterized in Roy Marsden's authoritarian (he-who-must-be-obeyed?) portrayal of Commander Adam Dalgliesh - Metropolitan Police, who is such an arrogant cold-fish as to completely dispel any empathy viewers could ever possibly develop. He may as well be another victim stretched out on that morgue slab.

For someone posing as an expert in murder solving, Dalgliesh is NOT an investigative detective (or lawyer) in the Poirot, Holmes, Dr. Bell, Barnaby, Cadfael, Foyle, Lord Peter Wimsey, (or certainly not Perry Mason) tradition. When asked by an assistant why a particular murder occurred, he says (Chapter 8) "Why is not the here nor there. If we find the how, we'll find the who." Dalgliesh's sentiment is not new or isolated, but his personal modus operandi (and apparently James' raisonneur), expressed in other episodes as well! Thus, Dalgliesh says, MOTIVE IS OF NO CONSEQUENCE IN SOLVING MURDERS! (But note even he, kicking and screaming, cannot escape reality at times.) Such sentiments put Dalgliesh completely outside the panoply of great investigative detectives. He is the diametrical opposite of the above-named great ones, being first and foremost a police officer. Indeed, visions of Police Lieutenant Tragg of Homicide come to mind, but without Tragg's engagingly smirky wit. And even Tragg was ALWAYS interested in MOTIVE, though the wrong motive! (And why aren't these Perry Mason episodes on DVD? This reviewer will take one really good Perry Mason over ten James productions any day.)

After watching these other classic series, then watching one of James', the regression in story quality is striking. The video image on this DVD is surprisingly sharp and free of grain, though perhaps a bit on the dark side. The audio, a major concern in this series, is clear and largely free of distracting background noise. Reluctantly NOT recommended unless you are a completist.

Thought-provoking tale with excellent performances
Since 1983, fans of P.D. James have relished the sumptuous TV adaptations of the mystery author's complex detective novels. For the most part, the books have been shepherded to the small screen with great care, and the casting of actor Roy Marden as Scotland Yard Commander Adam Dalgliesh has been seen as nothing less than a masterstroke. The one complaint that could be leveled against the producers is the seemingly random order in which the books have been filmed. A Mind To Murder, James' second Dalgliesh novel, was the eighth adaptation for television in 1996. This trend has played more than a little havoc with the chronology and character development laid down on the printed page. A Mind To Murder underwent more changes from page to screen than any previous adaptation, but remains gripping and thought-provoking taken on its own merits.

Once again, Roy Marsden assumes the mantle of the poetry-writing, introspective Dalgliesh, and his performance here is riveting and intense as usual. This is no ordinary investigation, as events in the story will affect him personally on several levels. The tense opening scene sees Dalgliesh lose a young member of his team in a hostage crisis. Three months later, he and his team are dispatched to the remote Steen Clinic to invesigate a murder, an odd assignment considered they are the Metropolitan Police. Dalgliesh will learn the reason for this assignment, and stumble across some unnerving secrets relating to the death of his colleague earlier in the tale - secrets that lay submerged within the stated function of the clinic, which is to treat the addictions and depressions of the rich and the powerful...

The members of the large cast are all marvelous, and the production values are extremely high. As a James fan, I usually enjoy the adaptations, and tend to balk at overt changes made from the printed page. In this instance, though, my grumbles are minor thanks to the strength of the performances and some neat little flourishes which add zest to the proceedings. Dark and fascinating.

A powerful story of mind games as well as murder!
One interesting fact about this video, is that no writing credits are given for the adaption of P D James book that this is based on. Viewers should not expect this adaptation to be a faithful reproduction of the original. Even the murderer is different! But I'm not going to tell the prospective buyer who it is, so they will need to buy it and find out for themselves. Having stated these facts, I still found this video an excellent and enjoyable experience. As expected, Roy Marsden again puts in another solid performance and portrays Dalgliesh as no other actor can. The supporting cast is top class, with Cal Macaninch giving a wonderful performance of a highly disturbed young man. The murder victim, has no friends and lots of enemies. The Steen Clinic for the emotionally disturbed, depressed, alcoholic clients, and its staff all have the potential for a 'A Mind to Murder' and Dalgliesh is handed the unenviable task of trying to find the culprit. The final scene has the potential to submerge the viewers and leave them literally breathless. An excellent production, full of intrigue, pathos, and of course the action packed, unusual conclusion. ... Read more