Tag Archives: Ordeal by Innocence

Bunting and blood

Long-hidden secrets are revealed in Ordeal by Innocence, a murder mystery that shatters the perfect image of a 1950s family. DQ hears from stars Bill Nighy and Morven Christie and writer Sarah Phelps about the latest Agatha Christie adaptation coming to the BBC.

When Ordeal by Innocence airs on the BBC, there’s one person who definitely won’t be watching. “I’m not particularly fond of the sight of myself, or the sound of myself,” reveals actor Bill Nighy. “It’s weird. But it’s the acting, because you know what you had in mind and you know, therefore, how far short it falls from what you had in mind.

“I’m much better now because I realise people just like stuff and if they like it, it’s fine. I used to think it was some conspiracy to make me look stupid. I was a mess and I used to get very paranoid. But now you realise people just want to watch a story. The minutiae of my performance is not really their concern.”

However, there was some concern that nobody would get to see Ordeal by Innocence, the latest Agatha Christie adaptation from writer Sarah Phelps and producers Mammoth Screen and Agatha Christie Ltd, following And Then There Were None and The Witness for the Prosecution.

Originally due to air on BBC1 at Christmas 2017, the three-part miniseries was pulled from the schedules after allegations of sexual assault were made against Ed Westwick, who had been cast as Mickey Argyll. He denies the claims.

Bill Nighy pictured in a break between filming on Ordeal by Innocence

But after director Ridley Scott reshot scenes from All the Money in the World, replacing Kevin Spacey with Christopher Plummer, the production team decided to follow suit and reshot 35 scenes in 12 days with Christian Cooke replacing Westwick.  Ordeal by Innocence will now debut on April 1.

At the time, the producers said: “While the allegations against Ed Westwick remain under investigation – allegations that he strenuously denies – the producers of Ordeal by Innocence have decided to reshoot parts of the series with another actor.”

The setup of Christie’s story, first published in 1958, remains the same. It opens with the murder of wealthy philanthropist Rachel Argyll (played by Anna Chancellor) at her family estate, Sunny Point. Her adopted son, Jack Argyll (Anthony Boyle), a young delinquent, is then arrested for her murder, despite protesting his innocence.

Eighteen months later, mysterious scientist Dr Arthur Calgary (Luke Treadaway) arrives at Sunny Point claiming to have the alibi that can prove Jack’s innocence. But Jack died in prison before the case could come to trial, and the Argyll family is reluctant to dig up the secrets of the past.

Rachel’s widower, Leo (Bill Nighy), is about to remarry his secretary, Gwenda, and none of Rachel’s other adopted children – Mary, Mickey, Tina and Hester – nor longstanding housekeeper Kirsten, are willing to reopen that most horrendous chapter of their lives. However, if Jack is innocent, then someone else must be guilty.

Morven Christie plays housekeeper Kirsten

With every member of the family fearful of these new revelations, what makes Leo a suspect? “He lives and breathes in an Agatha Christie novel,” Nighy jokes. “You’d have to go some way to invent him as shady; he pretty much behaves impeccably. The only thing about him is – and it’s never specifically stated – I don’t think he’s got any money. The money is his wife’s. Therefore, that might make him suspicious in some way.”

As Kirsten, an adopted daughter who is also the family’s housekeeper, actor Morven Christie (The Replacement, The A Word) stands out as a member of the family who may be the closest thing to an outsider.

“It’s a lot more to do with status,” Christie says. “She’s part of the family but she’s out of the family. They can argue over the breakfast table, she wouldn’t interject, but part of that is just her character. She is holding a lot of things inside her that come out through the story. She’s an incredibly controlled, together woman until she’s not.”

Don’t be fooled into believing the maid did the dastardly deed, however. “When I first read the script, I got two pages in and was like, ‘Clearly this maid did it, because otherwise they wouldn’t cast this face. I have a resting bitch face. They’re trying to deceive you by the casting,” Christie says.

Playing Kirsten also provided the actor with a role different from the more outspoken parts she is used to playing, with the housekeeper largely silent and speaking through expression. But having previously worked with Phelps on Oliver Twist, the actor and writer spent several phone calls talking about Kirsten. “There’s no element of a character’s history she doesn’t know so I always want to check it with her,” Christie says. “So it becomes a proper collaboration, and not every writer’s up for that. Sarah really is. But she’s not prescriptive in the slightest. Sarah’s quite an extraordinary individual. She’s magic.”

Anthony Boyle plays Jack Argyll, who finds himself accused of murder

Despite this being her third Agatha Christie adaptation – and with a fourth, Poirot mystery The ABC Murders, on the way – Phelps has never been a “Christie aficionado,” admitting she had never read the crime novelist’s books or watched one of the countless other adaptations of her work.

But reading And Then There Were None for the first time, her impressions of “nice, safe, queasy nostalgia” were blown away. “It was so brutal, remorseless and so savage and completely unexpected,” she says of the story, which sees 10 people gathered together on a remote island and killed off one by one.

She found more freedom in The Witness for the Prosecution, a short story set in the mid-1920s, while adapting Ordeal by Innocence was a very different prospect.

“It is all about something that happened a very long time ago,” she explains. “Nobody really gets killed. Everybody just sits around in a hiatus talking about things and nothing really happens. Somebody goes to London and goes out for dinner, and that’s about it.

“So it’s much more of a contemplative piece of writing. But with a murder mystery, there’s got to be a murder and there’s got to be a mystery. And there’s got to be something that compels you through. So I just basically took the idea of this really fucked-up family and thought about the 1950s a lot and then – probably to the horror of the [Agatha Christie] devotees – I changed the ending. I’ve changed quite a lot and I’m lucky the [author’s] estate are generous enough to go, ‘You’re mad but we’re just going to let you do it.’”

Sarah Phelps

Phelps began writing the miniseries by thinking about “the bunting and the blood of the 1950s,” a period just a few years removed from the horrors of the Second World War and a time of great tradition but also of motherhood and womanhood, with a young Queen Elizabeth II on the British throne. And at its heart is the story of a ‘perfect’ family, except it isn’t perfect at all.

“For loads of different reasons, it took a great deal of time to burrow away at it and actually find the real spirit of it,” the writer says of Christie’s novel. “I was thinking about the 1950s and street parties and also conspiracy and silence – I wanted those two things to be the mood of the book. I wanted this sense of people smiling but, underneath, just screaming with fury and rage and all the lies that families keep.

“The thing I kept thinking about was perhaps there’s a way of telling the story of the 20th century through murder mysteries that tells us where we are in the 21st. So that’s kind of what I’m into doing – we’ve had the late 1930s [in And Then There Were None] and the mid-20s [for The Witness for the Prosecution] and now we’re having the mid-50s, and the next one [The ABC Murders] will be the early 30s.”

For Phelps, the appeal of a murder mystery is not ‘whodunnit’ by ‘whydunnit.’ “That’s what’s exciting to me, picking away at the characters and going, ‘Why are you doing this?’ Not how you did it with a poker or whatever, but why? What is making you do this?”

Phelps is well versed in family tension, having written dozens of episodes of long-running BBC soap EastEnders. Now in Ordeal by Innocence, distributed worldwide by IMG Global, the residents of Sunny Point find there is no one to trust. “There is a murderer under this roof and they smile and they get away with it,” she adds. “It’s one of those things that puts a shiver up your back.”

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A busy August in Edinburgh

Aidan Turner of Poldark fame was among And Then There Were None's star-studded cast
Aidan Turner of Poldark fame was among And Then There Were None’s star-studded cast

It’s been a busy end to August in terms of commissions and acquisitions. In the UK, the BBC has been especially active, taking advantage of the Edinburgh International Television Festival (EITF) as a platform for announcing or discussing new developments.

One of its most high-profile announcements is a deal with Agatha Christie Productions that will see seven Agatha Christie novels adapted for TV over the next four years. This follows an earlier announcement that it would be making The Witness for the Prosecution, with a cast led by Toby Jones, Andrea Riseborough, Kim Cattrall, David Haig, Billy Howle and Monica Dolan.

The first of the novels to be adapted under the seven-book deal will be Ordeal by Innocence. Other titles so far confirmed include Death Comes as the End and The ABC Murders, which focuses a race against time to stop a serial killer who is on the loose in 1930s Britain.

Commenting on the deal, Charlotte Moore, director of BBC Content, said: “These new commissions continue BBC1’s special relationship as the home of Agatha Christie in the UK. Our combined creative ambition to reinvent Christie’s novels for a modern audience promises to bring event television of the highest quality to a new generation enjoyed by fans old and new.”

The decision to plan so far ahead came after the success of And Then There Were None for BBC1 in 2015. That adaptation was written by Sarah Phelps, who is also working on the next two Christie projects. Further writers will be announced in due course.

Agatha Christie Ltd boss Hilary Strong
Agatha Christie Ltd boss Hilary Strong

Hilary Strong, CEO of Agatha Christie Ltd, said: “And Then There Were None was a highlight of the 2015 BBC1 Christmas schedule, and we are truly delighted to be building on the success of that show, first with The Witness for the Prosecution, and then with adaptations of seven more iconic Agatha Christie titles. What Sarah Phelps brought to And Then There Were None was a new way of interpreting Christie for a modern audience, and Agatha Christie Ltd is thrilled to be bringing this psychologically rich, visceral and contemporary sensibility to more classic Christie titles for a new generation of fans.”

The Witness for the Prosecution is a Mammoth Screen and Agatha Christie Productions’ drama for BBC1, in association with A+E Networks and RLJ Entertainment’s development arm, Acorn Media Enterprises. RLJE’s streaming service, Acorn TV, is the US coproduction partner and will premiere the adaptation in the US. A+E Networks holds rest-of-world distribution rights to The Witness for the Prosecution, and will launch it at the Mipcom market in October.

Alongside the Christie announcement, the BBC’s Moore used the EITF to unveil a range of other dramas. These include an adaptation of Malorie Blackman’s acclaimed young-adult novel Noughts and Crosses and a new six-part drama from Jed Mercurio (Line of Duty) entitled Bodyguard.

There is also an Edinburgh-set drama called Trust Me, written by Dan Sefton, and a new series from Abi Morgan called The Split. This one examines the fast-paced circuit of high-powered female divorce lawyers, through the lens of three sisters – Hannah, Nina and the youngest, Rose.

The Luminaries
The Luminaries is being adapted for BBC2

Moore’s announcements for BBC1 were built upon by BBC2 controller Patrick Holland, who also announced plans for new scripted series at the festival. “I want BBC2 to be the place where the best creative talents can make their most original and exciting work, where authorship flourishes,” he commented.

Holland’s headline drama announcement was MotherFatherSon, from author and screenwriter Tom Rob Smith (Child 44). This is an eight-part thriller that “sits at the intersections of police, politics and the press,” according to the BBC. “It is as much a family saga as it is a savage, unflinching study of power and how even the mightiest of empires can be in peril when a family turns on each other.”

Holland also greenlit The Luminaries, a six-part drama from Working Title Television based on the novel by Eleanor Catton. A 19th-century tale of adventure, set on the west coast of New Zealand’s South Island in the boom years of the 1860s gold rush, The Luminaries is a story of love, murder and revenge, as men and women travelled the world to make their fortunes.

Catton, who will adapt her own novel for television, won the 2013 Man Booker Prize for The Luminaries. She said: “Learning to write for television has been a bit like learning a new musical instrument: the melody is more or less the same, but absolutely everything else is different. I’m having enormous fun, learning every day, and I’m just so excited to see the world of the novel created in the flesh.”

Filming on the six-parter will begin in 2017, taking place in and around New Zealand.

Anna Friel in Marcella
Anna Friel in Marcella

While the BBC dominated the drama announcements at the EITF, ITV also used the event to reveal that there will be a second season of crime drama Marcella, written by The Bridge creator Hans Rosenfeldt and starring Anna Friel. Produced by Buccaneer Media, the first season of the show was a top-rated drama on ITV, achieving an average of 6.8 million viewers across its run.

Commenting on the recommission, Rosenfeldt said: “I was delighted at the reaction to the first season and am thrilled to be revisiting Marcella for ITV. In the second season, the audience will get the opportunity to spend more time in her world, exploring some of the characters and getting to know them better.”

Other interesting stories as the industry gears up for autumn include the news that Amazon has acquired Australian drama The Kettering Incident from BBC Worldwide for its Prime Video service. The show was co-created by writer Victoria Madden and producer Vincent Sheehan was shot entirely in Tasmania. The eight-episode series tells the story of a doctor who returns to her hometown years after the disappearance of one of her friends.

The Kettering Incident
The Kettering Incident has been picked up by Amazon

In mainland Europe, Telecinco Spain has ordered a local version of hit Turkish series The End. Produced originally by Ay Yapim, the new version will be called El Accidente and will be the third local version of the show in Europe after remakes in Russia and the Netherlands.

The show, which was also piloted in the US, tells the story of a woman investigating her husband’s death in a plane crash, only to discover that he wasn’t on the flight. It is distributed by Eccho Rights, which has also sold the original to 50 countries.

In the US, premium pay TV channel Starz has renewed Survivor’s Remorse for a fourth season. The show has had a particularly strong third season having been paired in the schedule with Starz hit series Power. Across all platforms, it now draws around 2.9 million viewers per episode.

“We are thrilled to renew Survivor’s Remorse for a fourth season,” said Starz MD Carmi Zlotnik. “Critics have consistently called it one of the smartest and funniest comedies on TV, and we are delighted to see audiences embracing the characters and the storyline with that same enthusiasm. Mike O’Malley and his tremendously talented team of writers and actors boldly tackle today’s most pressing issues, from race, class, sex and politics to love and loss, but with such a deft touch that nothing ever feels heavy-handed.”

The End has sold across the world
The End has sold across the world

In other news, ProSiebenSat.1-owned Studio71 is producing a live-action series inspired by the Battlefield video game franchise that will launch on Verizon’s Go90 platform. Rush: Inspired by Battlefield will stream on the mobile service from September 20.

The Battlefield franchise, developed by EA Dice and published by Electronic Arts, has amassed more than 60 million players since launching in 2002. “Gaming is one of the most popular forms of entertainment today and there is a huge appetite for content inspired by video games,” said Studio 71 president Dan Weinstein.

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