![]() ![]() Among modern touches are also special effects that obviously could not appear in older motion pictures these include soldier figurines collapsing in the opening credits, which grabs viewer attention with much more immediacy than a slow-motion list of names. ![]() In other words, as compared to Mario Castelnuovo-Tedesco’s 1945 film score, Earl Stuart’s upbeat tempo directly aims at accelerating viewer perception and heightening suspense. Blending classical and contemporary notes, his music takes part in building the frightening atmosphere and reinforces the fast rhythm of plot development. ![]() Earl Stuart’s music is one of these elements. I will support this view by detailing these three points.Įven though the whole setting takes us back to 1939, the 2015 TV mini-series involves unmistakable details indicating a 21 st-century production with a much faster pace and sensory manipulation. This was achieved by including modern features, exploring understatements in the original story and directing actors to create genuine fear and mystery. Comparing the two versions, it became obvious to me that – beyond the issue of the ending – Craig Viveiros’s production was definitely more appealing than René Clair’s. The rhyme on which the story was based, had, in fact, an alternative ending, “he got married and then there were none”, and as she wrote to Max in 1942, she certainly ‘contemplated this as a possibility if I can do it my way…’ (…)”. As Janet Morgan explains, “Agatha had meanwhile begun to think of ways in which the closing chapter of Ten Little Niggers might be changed. Before any screen adaptation, the novel – like many other Agatha Christie crime fiction hits – had been adapted for the stage, which explains the alternative version concluding with Vera Claythorne and Philippe Lombard falling in love and escaping together. The two versions evidence major differences in the setting, the acting and the unfolding of the story. As Janet Morgan mentions in her biography of the author: “the first production was eventually made in 1945 by Twentieth Century Fox, as And Then There Were None directed by René Clair.” This black-and-white production is in striking contrast with the 2015 TV mini-series directed by Craig Viveiros. Originally entitled Ten Little Niggers, the novel was first adapted for the screen in 1945 under the current title. Never will people get bored with this story involving ten complete strangers experiencing a completely lost island in an atmosphere of terror and suspense. Published in 1939 and several times adapted, Agatha Christie’s And Then There Were None never ceases to intrigue both readers and viewers. ![]()
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