Miss Marple, the Terrible, is going to London, to Bertram's Hotel actually and you can be sure there is a lot of eavesdropping, watching, listening, observing and whatever helps find some truth out of an evanescent surface of things. But no surprise, once again it is a daughter-mother story, an abandoned daughter who comes across at the same time her mother and her long discarded father, though not forgotten. Miss Marple also has something against the aristocracy, at least aristocratic women who have nothing to do and feel more and more useless and bored in our modern world with brand new television (the old type I hardly remember). So from boredom to lovers and from lovers to killers and from killers to train-robbers, in any order possible, that's the way to add some piquant sauce to the drab life of an aristocratic lady. The second obsession of Miss Marple is canons, parsons, priests or whatever again, provided they can quote the Bible if possible without mixing the Song of Song and the Apocalypse. That's because young ladies need a watchful eye, I guess. And there the sky falls on the heads and shoulders of a few culprits with just a couple of sentences. Of course in a way we know what is going to happen and who is the criminal. The game of the director is to systematically mislead us with the music or an ellipse of some sort to make us expects what does not come, and frustrate our suspense with a little bit more suspense. Deliciously quaint.
Dr Jacques COULARDEAU, University Paris 1 Pantheon Sorbonne, University Paris 8 Saint Denis, University Paris 12 Créteil, CEGID
Dr Jacques COULARDEAU, University Paris 1 Pantheon Sorbonne, University Paris 8 Saint Denis, University Paris 12 Créteil, CEGID