A star rating of 3 out of 5.
In Agatha Christie novels, it’s often the poisonings, stabbings, or strangulations (and other such gruesome acts) that send a shiver down one’s spine. However, Towards Zero offers something even more chilling: sharing a honeymoon with your partner’s former spouse.
No, we really can’t think of anything quite as wretched as that.
However, Kay Elliot (Mimi Keene) faces a difficult situation as her husband, tennis prodigy and rogue Nevile Strange (Oliver Jackson-Cohen), reveals that they won’t be escaping to tropical destinations, but will instead head to his childhood home, Gull’s Point, situated on the Devonshire coast. There, his recently divorced wife Audrey (Ella Lily Hyland) will also be spending her summer.
It’s clear that Kay isn’t exactly living an honest life, a fact that wasn’t lost on her. She was fully aware of his marriage status as she attended his tennis games and subtly caught his attention with her coquettish glances.
In my film enthusiast perspective, Neville and Audrey were the equivalent of the iconic couple, the “Brangelina” of their era, drawing unavoidable attention wherever they went. The tumultuous aftermath of their split was unfolded in full glare for the public, with tabloids abuzz and a highly dramatic court trial that echoed loudly across the world of media.
Indeed, just as the gentle wind in your hair during a weekend trip to Gull’s Point is described by Taylor Swift, so too can we liken karma.
The grand coastal residence is owned by Nevile’s aunt, Lady Tressilian (Anjelica Huston). Although she spends the majority of her time confined to bed, making her reminiscent of characters in a Jim Cartwright play, she is an authoritative person who has little patience for those she considers foolish.
Sometimes, she steps out to the window for some fresh air and a glance at the water, which can be treacherous; unfortunately, several swimmers have drowned there when they got swept away by strong currents.
In the same body of water, tragically, her own husband drowned, which left her in charge of what she refers to as a group of “snakes.”
Or:
Her husband met his end in those very waters, and she was now overseeing a group of individuals she dubbed “snakes”.
In both cases, the phrase “brood of vipers” has been replaced with “group of snakes” or “individuals she dubbed ‘snakes'” to maintain the original’s connotation while making it more approachable and less formal.
Audrey, who had been orphaned at age 11, eventually ended up at Gull’s Point, where she and Nevile grew extremely close, their relationship deepening into romance. However, this romantic bond was met with disapproval by Nevile’s cousin Thomas Royde (Jack Farthing), who had once harbored feelings for Audrey himself.
On the very first night, an unanticipated guest shows up, invited by Lady Tressilian’s paid companion Mary (Anjana Vasan), against the specific wishes of their employer who had expressly forbidden such a visit.
For several months, they’ve been exchanging letters, with her believing this communication might blossom into romance. However, unbeknownst to her, he’s actually trying to secure a substantial financial aid from his aunt, due to his struggling rubber plantation in Malaya.
In this chilling tale, other key figures are introduced: Lady Tressilian’s trusted attorney and guardian of family mysteries, Mr Treves (Clarke Peters); his adolescent ward, Sylvia (Grace Doherty), who has a habit of stealing; Nevile’s newly hired valet, Mac (Adam Hugill), known for his impressive posture akin to Joe Hart’s; the long-serving housekeeper, Mrs Barrett (Jackie Clune); and the enigmatic Louis Morel (Khalil Gharbia), whom we initially encounter at the scandalous Easterhead Bay Hotel, positioned across from Gull’s Point.
Naturally, an Agatha Christie story isn’t fully realized without its mystery-solving canine counterpart. In this tale, it’s Inspector Leach (portrayed by Matthew Rhys), a man with a military past, who carries the weight of a metaphorical black dog along with him.
Here are some other options:
1. Just as no Agatha Christie story would be complete without a canine detective, this one features Inspector Leach (Matthew Rhys), a retired soldier burdened by an unseen companion – a symbolic black dog.
2. As in traditional Agatha Christie stories, the mystery is solved by an animal this time around. Inspector Leach (played by Matthew Rhys) serves as our detective, carrying with him the metaphorical weight of a black dog, a reference to his troubled past as a former soldier.
3. This Agatha Christie-style mystery wouldn’t be complete without its four-legged sleuth. In this case, we have Inspector Leach (Matthew Rhys), a man with a military history who carries the metaphorical burden of a black dog on his shoulders throughout the story.
However, unlike most Agatha Christie adaptations, there’s no murder in the initial episode, and this departure from tradition serves to build suspense incrementally, reaching nearly unendurable heights.
As I sat down to watch this intriguing film, I couldn’t help but feel that the true beginning of the story wasn’t the chilling murder scene that closed the narrative. Instead, the foundation for this tale was laid long ago, years before the tragic event took place – a pivotal moment that served as the genesis, if you will, of the captivating mystery unfolding on screen.
Luxuriating or dragging? Probably a bit of both.
In just three episodes, “Towards Zero” attempts to extend the narrative to its fullest potential, achieving this effectively in some instances, yet sometimes it feels heavy-handed and may seem slow or lacking momentum.
Part of it originates from Leach, who undeniably suffered from PTSD due to his service in World War I, an era when PTSD wasn’t yet acknowledged as a condition. This lack of the vivacity and charm typical of characters like Marple or Poirot creates a certain heaviness that affects the overall tone.
However, a significant event gives him quite a push, metaphorically speaking, causing our detective to show increased determination and vigor in the closing scenes.
Two suspenseful plot twists skillfully used will make you eagerly anticipate the next episode, and the intriguing mystery of who committed the crime keeps you hooked, considering the variety of possible culprits, all possessing strong reasons for committing a murder.
I must say, both characters are exceptionally portrayed. I admire Keene’s mastery in embodying the melancholic, resentful, and heartbroken woman. As for Jackson-Cohen, his performance as the detestable Nevile, the insatiable cake-lover, is simply captivating.
The lively mental tug-of-war happening among tennis players Audrey and Kay offers an enjoyable spectacle and serves up the most thrilling and mischievous instances of the story.
Despite their best efforts, Nevile and Audrey find themselves inexorably drawn together again, as if a powerful magnetic force is pulling them back – similar to swimmers who get caught up in a strong current – which leaves Kay growing more and more angry.
Farthing consistently delivers an outstanding portrayal of the character Thomas Royde, a man haunted by a traumatic incident from his past at Gull’s Point. In times when he feels ignored, he reacts by inflicting pain upon himself.
Without a doubt, this role is exceptionally challenging, and it’s difficult to envision anyone else capturing the sharp intensity it requires quite like Farthing does.
As a cinema aficionado, let me tell you that Angelica Huston’s portrayal of Lady Tressilian left an indelible impression on me, even though she spends most of the film in bed. Her performance was captivating and truly stood out among the rest.
In a simple and engaging manner, here’s how you could rephrase the sentence:
Huston exudes an authoritative aura that completely occupies the screen, just as captivating today, at 73, as she was three decades ago.
The use of close-up shots by director Sam Yates further underscores the authority she holds over her subjects, as they are called to her chambers via a bell pull, in other words.
Towards Zero is skillfully and tastefully filmed, offering an intelligent, moody, mature viewing experience for adults. Long-time admirers of Agatha Christie’s work are likely to find it satisfying.
For newcomers under the age of maturity, who are encountering Agatha Christie for the first time, they may find a wealth of appreciation but not excitement, as the storyline appears quite conventional and predictable.
Another drama, like The White Lotus, The Perfect Couple, Industry, and Succession, continues to shed light on the questionable behaviors of the extremely affluent. This theme is far from exhausted, as evidenced by numerous other series. (In a more conversational tone: Yet another series joins the ranks of shows focusing on the often problematic actions of the super-rich, such as The White Lotus, The Perfect Couple, Industry, and Succession. There’s no shortage of these shows.)
Sylvia expresses her discomfort by saying, “I find them unpleasant. Those individuals and that location, they cause me discomfort in my throat,” she shares seriously with Leach. Indeed, I can relate to her sentiments.
Despite a less-than-impressive performance from “Murder Is Easy” in 2023, the BBC’s bond with Agatha Christie has been rekindled once more.
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2025-02-28 03:34