See How They Run
See How They Run
Starring Sam Rockwell, Saoirse Ronan, Adrien Brody, David Ovelowo
Directed by Tom George
Starring Sam Rockwell, Saoirse Ronan, Adrien Brody, David Ovelowo
Directed by Tom George
When it comes to the "whodunit" subgenre, one name immediately comes to mind: Agatha Christie. She's one of the most prolific mystery writers in history, giving birth to the whodunit subgenre and giving birth to the likes of Inspector Hercule Poirot, but something that only diehard Christie fans know is her work called The Mousetrap. This work is actually a satirical work she crafted to make light of her other, more serious, work, and the play of the production has been performed at London's West End since 1952 - becoming the longest-running play in history, being put on over 28,000 times. The Mousetrap is unique in that Christie demanded that the play not be made into a movie until its run ends, and the play's unique ending turns the audience into accomplices to the crime, with the cast telling them to not reveal who the killer is to anyone after leaving the play. "See How They Run" is as close as you'll get to The Mousetrap being put on screen, and it's filled with the tongue-in-cheek satirical references to the whodunit subgenre that Christie practically single-handedly invented, a rip-roaring comedic mystery filled with lavish set and costume designs and pitch-perfect performances all around.
In London in 1953, during the 100th showing of The Mousetrap play, American director Leo Kopernick (Adrien Brody) wants to turn it into a major film, despite his hatred for the subject. He doesn't consider whodunits as anything new, and wants to spice things up for the film adaptation - all the while acquiring a list of enemies from screenwriter Mervyn Cocker-Norris (David Ovelowo) to actor Richard Attenborough (Harris Dickinson), to producer John Woolf (Reece Shearsmith) and so on. So when Leo is cornered and murdered in the costume room, everyone is a suspect. Inspector Stoppard (Sam Rockwell) and young upstart Constable Stalker (Saoirse Ronan) are brought in to investigate the crime, leading the duo down different rabbit holes and suspicions, culminating in the classic whodunit ending with all the suspects in the room as the killer is slowly revealed.
"See How They Run" is a brilliant blend of the satirical and the practical look at the whodunit subgenre, serving as a meta take on one of Agatha Christie's longest-running plays. The opening monologue by the cynical Leo Kopernick pretty much spells out the entire plot of the film, even though he refers to it as a "second-rate murder mystery:"
-he says it begins with an interminable prologue in which all the key players are introduced, then the film goes on to introduce all the said key players
-you sense the the world they inhabit, and we see their various backgrounds and what they enjoy doing
-then the most unlikable character gets bumped off, and Kopernick is killed
-the entrance of the "world-weary detective" who pokes his nose around, talks to witnesses, takes a couple of wrong turns, then gathers all the suspects together and points to the least likely, and then we meet the world-weary detective Inspector Stoppard
So while Kopernick's opening monologue was meant to insult the film, it actually went on to explain everything that would happen, serving as a wonderful meta opening. It only gets better from there as mentions of how he hates flashbacks (which the film relies heavily on), as well as the insufferable way they incorporate placards referring back to that date as "three weeks ago" (with a placard thus stating "three weeks ago"). Not only is it meta, but "See How They Run" pokes fun at itself, something Agatha Christie would undoubtedly be proud of (including her own "cameo" appearance).
The performances are also exceptional, especially that of Sam Rockwell and Saoirse Ronan, who play perfectly well off one another. Rockwell's Inspector Stoppard is your classic detective - injured in the war, divorced, alone, and would rather be investigating the bottom of a bottle than the bottom of the case. He's stoic and also humorous, giving a deeper understanding to his own character arc. Saoirse Ronan is the tonal opposite: a young upstart who wants to prove herself in a predominately male-driven profession who wants to glean from Stoppard's years of experience, even though he's less than willing to give it. Her Constable Stalker is someone who meticulously writes down everything no matter how small, offers funny quips, and all-too-often jumps to conclusions, at one point or another claiming everyone involved in the play is involved in the murder. This odd couple is our hosts in our own thrilling mystery, and we couldn't ask for better storytellers who drive the narrative forward.
The film is shot in beautiful cinematic feel, thrusting you back into the time of the 1950s right down to the smallest detail - the costumes, the set pieces, the automobiles and the buildings all give off the 50s vibe, further drawing you into the horrid tale. Mix in a murder of a man that wasn't well liked, and you got a great whodunit caper that's filled with twists and turns, misdirections and misleadings, all of which gets flushed out in the end in a very humorous and...as I've said ad nausea...meta way. It's genius and it also holds to Christie's wish in not revealing the real The Mousetrap tale, even though it's set to the big screen against a story that seemingly comes from the author's own mind.
The Score: A+
In London in 1953, during the 100th showing of The Mousetrap play, American director Leo Kopernick (Adrien Brody) wants to turn it into a major film, despite his hatred for the subject. He doesn't consider whodunits as anything new, and wants to spice things up for the film adaptation - all the while acquiring a list of enemies from screenwriter Mervyn Cocker-Norris (David Ovelowo) to actor Richard Attenborough (Harris Dickinson), to producer John Woolf (Reece Shearsmith) and so on. So when Leo is cornered and murdered in the costume room, everyone is a suspect. Inspector Stoppard (Sam Rockwell) and young upstart Constable Stalker (Saoirse Ronan) are brought in to investigate the crime, leading the duo down different rabbit holes and suspicions, culminating in the classic whodunit ending with all the suspects in the room as the killer is slowly revealed.
"See How They Run" is a brilliant blend of the satirical and the practical look at the whodunit subgenre, serving as a meta take on one of Agatha Christie's longest-running plays. The opening monologue by the cynical Leo Kopernick pretty much spells out the entire plot of the film, even though he refers to it as a "second-rate murder mystery:"
-he says it begins with an interminable prologue in which all the key players are introduced, then the film goes on to introduce all the said key players
-you sense the the world they inhabit, and we see their various backgrounds and what they enjoy doing
-then the most unlikable character gets bumped off, and Kopernick is killed
-the entrance of the "world-weary detective" who pokes his nose around, talks to witnesses, takes a couple of wrong turns, then gathers all the suspects together and points to the least likely, and then we meet the world-weary detective Inspector Stoppard
So while Kopernick's opening monologue was meant to insult the film, it actually went on to explain everything that would happen, serving as a wonderful meta opening. It only gets better from there as mentions of how he hates flashbacks (which the film relies heavily on), as well as the insufferable way they incorporate placards referring back to that date as "three weeks ago" (with a placard thus stating "three weeks ago"). Not only is it meta, but "See How They Run" pokes fun at itself, something Agatha Christie would undoubtedly be proud of (including her own "cameo" appearance).
The performances are also exceptional, especially that of Sam Rockwell and Saoirse Ronan, who play perfectly well off one another. Rockwell's Inspector Stoppard is your classic detective - injured in the war, divorced, alone, and would rather be investigating the bottom of a bottle than the bottom of the case. He's stoic and also humorous, giving a deeper understanding to his own character arc. Saoirse Ronan is the tonal opposite: a young upstart who wants to prove herself in a predominately male-driven profession who wants to glean from Stoppard's years of experience, even though he's less than willing to give it. Her Constable Stalker is someone who meticulously writes down everything no matter how small, offers funny quips, and all-too-often jumps to conclusions, at one point or another claiming everyone involved in the play is involved in the murder. This odd couple is our hosts in our own thrilling mystery, and we couldn't ask for better storytellers who drive the narrative forward.
The film is shot in beautiful cinematic feel, thrusting you back into the time of the 1950s right down to the smallest detail - the costumes, the set pieces, the automobiles and the buildings all give off the 50s vibe, further drawing you into the horrid tale. Mix in a murder of a man that wasn't well liked, and you got a great whodunit caper that's filled with twists and turns, misdirections and misleadings, all of which gets flushed out in the end in a very humorous and...as I've said ad nausea...meta way. It's genius and it also holds to Christie's wish in not revealing the real The Mousetrap tale, even though it's set to the big screen against a story that seemingly comes from the author's own mind.
The Score: A+
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