"THE HOLLOW" (2004) Review

"THE HOLLOW" (2004) Review

I have never been a fan of Agatha Christie’s 1946 novel, "The Hollow". Many would find my opinion surprising, considering its reputation as one of the author’s best works and a fine example of the "country house murder" story. But I cannot help how I feel. I simply never warmed up to it. 

The 1946 novel eventually became a successful London play in 1951. And in 2004, producers of the "Agatha Christie’s POIROT"series adapted the novel into a ninety-minute television movie in 2004, with David Suchet as Hercule Poirot. I have seen "THE HOLLOW" at least twice. Yet, my opinion of the story has not improved one whit for me.

I cannot say that the movie had a terrible story. The latter revolved around the murder of a successful and Harley Street doctor (in other words, expensive) named John Cristow, who specialized in disease research. The murder occurred at a weekend house party held by Sir Henry and Lady Angkatell at their estate called the Hollow. Dr. Christow was a brilliant and charismatic man who was having a passionate affair with his wife’s cousin, a sculptor named Henrietta Savernake. His plain and not so-intelligent wife, Gerda, was unaware of his affair with Henrietta. But she did become aware of his past with an actress named Veronica Cray, who found fame as a Hollywood star and was staying at a cottage on the Angkatell estate. And there were other members of the Angkatell family that became caught up in several affairs of the heart - like Edward Angkatell, a distant cousin of Henry and entailee of the family's beloved house, Ainswick, who was in love with Henrietta. Also staying at another cottage on the Angkatell estate was Hercule Poirot, who was on hand to solve Dr. Cristow’s murder.

As I had stated earlier, my opinion of Christie’s story had not improved after watching ”THE HOLLOW”. What can I say? I found it difficult to care about most of the characters. Despite his intelligence and dedication to his profession, I never liked the John Cristow character. In fact, I rather despised him, which made it difficult for me to care whether his murderer would be caught. Only one of the main suspects was portrayed in an unsympathetic light. Yet, the character failed to distract me from my dislike of the other characters – save one. And even though the murderer’s revelation came via a double-bluff, I found the plot’s details difficult to remember to endure, let alone remember. Yeah, I disliked the story that much.

Despite my dislike of ”THE HOLLOW”, I must admit that it could boast some pretty good performances. I was especially impressed by Megan Dodds as Henrietta Savernake, Jonathan Cake as John Cristow, Claire Price as Gerda Cristow, and Sarah Miles as Lucy, Lady Angkatell. The one bad apple in the bunch turned out to be Lysette Anthony, who gave an over-the-top performance as Veronica Cray, Dr.Cristow’s former lover turned Hollywood starlet. David Suchet did an admirable job as Poirot, but for once, his performance did not strike me as memorable.

I have mixed feelings about the movie’s production values. Michael Pickwoad did a solid job with his production designs, even if James Aspinall’s photography did not do much justice to it. But Sheena Napier’s costume designs and the hairstyles left me feelings confused. Although Christie’s novel was published in the mid-1940s, this movie seemed to be set in the 1930s. Yet, there were times I could not tell via the costumes and hairstyles whether the movie was set in the 30s or 40s. Very confusing.

When I saw ”THE HOLLOW”, I had hoped my negative feelings toward Christie’s 1946 novel would change for the better. Unfortunately, it failed. Perhaps I might watch ”THE HOLLOW” once a year in the hopes that I will learn to appreciate the story. Then again . . . perhaps not.

"THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES" (1965) Screenshots Gallery

Nine months ago, I had posted a REVIEW on the 1965 blockbuster comedy called "THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES". Below are screenshots from the movie:


"THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES" (1965) Screenshots Gallery





































If you are interested in more screenshots from this movie, you can find them HERE.

"THE HOLLOW" (2004) Photo Gallery

Below are images from "THE HOLLOW", the 2004 adaptation of Agatha Christie's 1946 novel. The movie starred David Suchet as Hercule Poirot: 


"THE HOLLOW" (2004) Photo Gallery

"THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES" (1965) Review

”THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES” (1965) Review

Many comedies featuring a long running time and a cast of celebrities were very prevalent in Hollywood and Europe during the 1960s. One of the more famous of these films happened to be the epic 1965 comedy titled ”THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES, Or How I Flew from London to Paris in 25 Hours 11 Minutes”. Directed and co-written by Ken Annakin, this two hour and eighteen minutes film depicted an comedic air race between London and Paris in 1910.

Director Annakin first came up with the idea of a pre-World War I air race while co-directing Darryl Zanuck’s World War II epic, ”THE LONGEST DAY” (1962). He pitched the idea to the producer and the latter agreed to bankroll the film. Zanuck also came up with the movie’s title, after Elmo Williams, managing director of 20th Century Fox in Europe, told the producer that his wife had written an opening lyric to the movie’s song:

Those magnificent men in their flying machines,
They go up diddley up-up, they go down diddley down-down!

Annakin complained would eventually "seal the fate of the movie". However, after being put to music by composer Ron Goodwin, the ”Those Magnificent Men in their Flying Machines” song would become the "irresistible" jingle-style theme music for the film and go on to have a "life of its own", even released in singles and on the soundtrack record. I can relate. To this day, I still consider the tune one of the best theme songs in movie history.

Annakin, along with Jack Davies, wrote a story that opened with a brief, comic introductory segment on the history of flight, narrated by James Robertson Justice and featuring American comedian Red Skelton (in a cameo appearance) that depicted a recurring character whose aerial adventures span the centuries, in a series of silent blackout vignettes that incorporate actual stock footage of unsuccessful attempts at early aircraft. As the story unfolded, Lord Rawnsley (Robert Morley), a newspaper magnate whose favorite to win his race is his daughter's ( fiancé, Richard Mays (James Fox). Lord Rawnsley summed up the expectation that a Britisher should win the competition: "The trouble with these international affairs is they attract foreigners." An international cast plays the array of contestants, most of whom live up to their national stereotypes, including the fanatically by-the-book, monocle-wearing Prussian officer (Gert Fröbe), the impetuous Count Emilio Ponticelli (Alberto Sordi), an amorous Frenchman (Jean-Pierre Cassel) , and the rugged American cowboy Orville Newton (Stuart Whitman), who falls for Lord Rawnsley's daughter, Patricia (Sarah Miles).

The main entertainment came from the amusing dialogue and characterizations and the daring aerial stunts, with a dash of heroism and gentlemanly conduct thrown in for good measure. Terry-Thomas portrayed the cheating Sir Percival Ware-Armitage, an aristocratic rogue who "never leaves anything to chance". With the help of his bullied servant Courtney (Eric Sykes), he sabotaged other aircraft or drugs their pilots - only to get his comeuppance in the end. The film is also notable for its use of specially constructed reproductions of 1910-era aircraft, including a triplane, as well as monoplanes and biplanes. Air Commodore Wheeler insisted on using the authentic materials of the originals, but with modern engines and modifications (where necessary) to ensure safety.

In the end, ”THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES” became one of the most successful ”epic comedies” to emerge from the 1960s. Not only did it score top notches at the box office, it was also nominated and received various movie awards in both the U.S. and Great Britain. The original screenplay written by Ken Annakin and Jack Davies was nominated for an Academy Award for Best Writing Directly for the Screen (1966). The film was also nominated in the category of Best Writing, Story and Screenplay - Written. At the 1966 Golden Globes, the film won Best Motion Picture Actor - Musical/Comedy for Alberto Sordi, as well as being nominated in Best Motion Picture - Musical/Comedy and Most Promising Newcomer - Male for James Fox.

I can say with true honesty that ”THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES” has become one of my favorite movies from the 1960s. Ken Annakin and his production crew had created a stylish and funny movie. The movie was filled with memorable characters like Terry-Thomas’ dastardly Sir Percival Ware-Armitage, Alberto Sordi’s eager aviator Count Emilio Ponticelli and Gert Fröbe’s by-the-book Prussian Colonel Manfred von Holstein. One very witty moment featured the arrival of the Japanese pilot, Yamamoto (Yujiro Ishihara), whose description of his journey from Japan to Great Britain turned out to be less exciting than a reporter had assumed.

Thomas N. Morahan’s production design and Osbert Lancaster’s costumes managed to evoke the bygone era of Europe and especially Great Britain during the last years before the outbreak of World War II. Christopher Challis’ photography and the Special Effects department led by Ron Ballinger did a great job in re-creating the actual air race shown during the last third of the film. Two of my favorite scenes featured the contestants leaving Dover to cross the English Channel and the race’s exciting finale in Paris. I also enjoyed the pre-race interlude at Dover in which the contestants and their families/companions spend a few hours frolicking in the sea and sipping champagne.

Not all seemed perfect with ”THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES. One tiresome aspect of the film included the running joke featuring Pierre Dubois’ (Jean-Pierre Cassel) encounters with six women of different nationalities that all look alike and are portrayed by Irina Demick. I found it slightly amusing when Dubois encountered two of the women. By the time of Dubois’ encounter with the fifth Irina Demick, I found myself screaming for the joke to end. Romance did not fare very well in the movie. Granted, James Fox’s Mays and Sarah Miles’ Patricia made a quaint couple. But Whitman’s arrival as Orville Newton, Mays’ rival in the race and for Patricia’s hand, did not improve matters. The problem was that Whitman and Miles made a poor screen team. According to Annakin, the two actors had a falling out after Whitman attempted to romantically pursue Miles and the two ended up disliking each other so much, they had trouble portraying a romance between Orville and Patricia. Mind you, Whitman and Miles had a few scenes that did generate chemistry. I suspect those scenes had been filmed before the fallout.

I must admit that ”THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES” can boast some hilarious moments and dry wit. But most of the humor seemed focused upon the Keystone Cops antics of the aviators during the days leading up to the race and the race itself. Most of the film’s humor featured bizarre plane crashes, hackneyed stunts and cliché portrayals of the various nationalities featured in the film. I rather liked the comedian Benny Hill . . . but not in this movie. In ”THOSE MAGNIFICENT MEN”, he portrayed a fire chief, whose job was to keep an eye out for aviation accidents. And whenever a crash occurred, it gave Hill and his cronies the opportunity to engage in an extreme form of slapstick humor that forced me to press the Fast Forward button of my DVD player . . . every damn time. But if there is one aspect of the movie I find frustrating, it is the fact that ”THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINE” is a two hour and eighteen minute film about an air race . . . that does not occur on screen until the last 45-47 minutes. The movie’s first fifteen or twenty minutes focused upon the characters’ introduction. But most of the movie’s action does not focus upon the race. Instead, it focused upon the few days before the race in which one has to endure practice flights that include countless crashes and slapstick humor. And every time I watch this film, I find this aspect so . . . damn . . . FRUSTRATING.

Technically, ”THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES” is a first-rate film. Although I found some of the dry humor to be rather sharp and entertaining, the slapstick humor that dominated the film became very hard for me to bear. I am also not thrilled that only one-third of the film had focused upon the actual race. But I have to give the movie points for the creation of interesting characters like Sir Percy Ware-Armitage and Count Emilio Ponticelli, along with a memorable and catchy theme song. And I must give Annakin and his production crew credit for re-creating a charming look at the elegance of pre-World War I Europe. Overall, ”THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES” has remained a fun and entertaining look at the early days of aviation that moviegoers today might still enjoy.