The Hero’s Journey in Agatha Christie’s “Evil Under the Sun”

The delicious moments in an Agatha Christie film are supposed to come at the end, when the detective (in this case, the redoubtable Hercule Poirot) gathers everyone in the sitting room and toys with their guilt complexes before finally fingering the murderer.

It begins in the usual way, with a corpse. It continues in obligatory fashion with the gathering of a large number of colorful and eccentric suspects in an out-of-the-way spot, which just happens to also be the destination of Hercule Poirot. It continues with the discovery of another corpse, with the liberal distribution of gigantic clues and with Poirot’s lip-smacking summary of the evidence. It’s the cast that makes EVIL more fun than the previous manifestations of this identical plot. As Poirot, Peter Ustinov creates a wonderful mixture of the mentally polished and physically maladroit. He has a bit of business involving a dip in the sea that is so perfectly timed and acted it tells us everything we ever wanted to know about Poirot’s appetite for exercise. He is so expansive, so beaming, so superior, in the opening scenes that he remains spiritually present throughout the film, even when he’s not on screen. 

All of the rest of the cast are suspects. They include Maggie Smith, a former actress who now runs an elegant spa in the Adriatic Sea; Diana Rigg, as her jealous contemporary;  Sylvia Miles and James Mason, as a rich couple who produce shows on Broadway; Jane Birkin and Nicholas Clay as a young couple constantly arguing over his roving eye; Colin Blakely as a rich knight who’s been taken by a gold digger; Emily Hone as the young new wife; and Roddy McDowall as a bitchy gossip columnist who knows the dirt about everybody. The newly discovered corpse belongs to one of the above. The murderer is one (or more) of the above. Nothing else I could say about the crime would be fair. 

One of the delights of the movies made from Agatha Christie novels is their almost complete lack of passion: They substitute wit and style. Nobody really cares who gets bumped off, and nobody really misses the departed. What’s important is that all the right clues be distributed, so that Poirot and the audience can pick them up, mull them over, and discover the culprit.