Why Didn't They Ask Evans?

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Obsession is beautifully shot, and via Morgan Lloyd Malcolm and Benji Walters’s script you occasionally get some sense of Anna’s inner life, her motivations, though not nearly enough. It’s left to Indira Varma, as William’s wife, Ingrid, to burn up the screen with emotion. Anna and William are mainly about the sex scenes, which seem to arrive in Bogof batches. Clearly, intimacy coordinators are working overtime, but that’s not the problem. While the obsession is overdone (William, especially, is drenched in it like cloying duty-free aftershave), the sex itself, including what appears to be a beginner’s guide to bondage and submission, seems stilted. It’s like watching AI sex robots attempt to play strip Twister. Catalan: La cursa del bumerang translator Esteve Riambau, 1996, Barcelona: Columna ISBN 978-8482563008 Serbian: Zašto nisu pitali Evansa?, translator Tea Jovanović, 2008, Beograd: Mladinska knjiga ISBN 978-8679281432 a b Barnard, Robert (1990). A Talent to Deceive: an appreciation of Agatha Christie (Reviseded.). London: Fontana. p.209. ISBN 0-00-637474-3. Hebrew: כדור במגרש הגולף (Ball in the Golf Field) 1960 translator unknown. ?מדוע לא ביקשו את אוונס translator: Dov Halachmi 1980

The name of the novel's hero – Bobby Jones – is the same as that of the American golfer who was at the height of his fame at the time of publication. The first chapter introduces "Bobby Jones" playing golf; when his stroke scuds disappointingly along the ground, the narrative explains this Bobby is not the American master. Bobby and Frankie trace the witnesses to the signing of John Savage's will. They are the former cook and gardener of Mr and Mrs Templeton. Mr Templeton is also known as Mr Leo Cayman. The cook says that Gladys, the parlourmaid, was not asked to witness the will, made the night before Savage died. Frankie realises that the cook and gardener did not see Mr Savage before the signing, while the parlourmaid did and would have realised that it was Roger in the "deathbed" who wrote the will and not Mr Savage. The parlourmaid is Gladys Evans, hence the reason for Carstairs' question, "Why didn't they ask Evans?" Danish: Hvorfor spurgte de ikke Evans? translator Michael Alring, 1999, Copenhagen: Peter Asschenfeldts nye Forlag ISBN 978-8778802996Collins Crime Club (London), September 1934, Hardcover, 256 pp (priced at 7/6 – seven shillings and sixpence) [1] a b c Marcum, J S (May 2007). "American Tribute to Agatha Christie: The Classic Years: 1935 - 1939" . Retrieved 31 January 2015. Hugh Laurie To Adapt Agatha Christie's 'Why Didn't They Ask Evans?' Into BritBox's Biggest Original To Date]". Deadline. 12 April 2021 . Retrieved 5 February 2022. Polish: Dlaczego nie Evans? translator Katarzyna Kasterka, 2014, Wrocław: Wydawnictwo Dolnośląskie ISBN 978-8324592838 Thomas Bassington-ffrench is a small boy in the novel, but in the film he is a cold and introverted teenager.

Believe it or not, Bobby Jones had topped his drive! He was badly bunkered. There were no eager crowds to groan with dismay. That is easily explained – for Bobby was merely the fourth son of the Vicar of Marchbolt, a small golfing resort on the Welsh coast. And Bobby, in spite of his name, was not much of a golfer. Still, that game was destined to be a memorable one. On going to play his ball, Bobby suddenly came upon the body of a man. He bent over him. The man was not yet dead. "Why didn't they ask Evans?" he said, and then the eyelids dropped, the jaw fell...Albert Mere: former gardener to Mr and Mrs Templeton and witness to the last will of "John Savage" (impersonated by Roger) Why Didn’t They Ask Evans? is a 1934 Agatha Christie novel, but it’s non-Marple, non-Poirot Christie, which gives the writer adapting it some freedom. In recent years on the BBC, Sarah Phelps has seized the opportunity to bring out the pitiless darkness of And Then There Were None, The Witness for the Prosecution and Ordeal By Innocence. This version of Christie is written and directed by Hugh Laurie, and is at the other end of the sleuthing spectrum. Richard Armitage ( The Stranger) plays William, a married, designer-stubbled surgeon going into politics, while Charlie Murphy ( Happy Valley) is Anna, the enigmatic new squeeze of William’s son Jay (Rish Shah). When William and Anna meet, mutual smouldering ensues. An olive is eaten in a provocative manner. Before long they’re naked, clamped together like erotic Lego, on the fabulous polished floor of a borrowed flat. Elsewhere, they sombrely copulate in toilets; mechanically rut in alleyways. Rarely has a tempestuous affair been made to look like such a chore. Interested in the will of the late John Savage, Frankie consults her family's solicitor in London and learns that Carstairs consulted him too. Savage was staying with Mr and Mrs Templeton when he became convinced he had cancer, although one specialist told him he was perfectly well. When he died by suicide, his will left seven hundred thousand pounds to the Templetons, who have apparently since left Britain. Carstairs was on their trail when he was killed. Bobby is kidnapped and Frankie is lured to the same isolated cottage by Roger. They turn the tables on him with the timely arrival of Badger Beadon and find a drugged Moira in the house. When the police arrive, Roger has escaped. In April 2021, it was announced that Hugh Laurie would be adapting the novel for BritBox in 2022. [20] The filming took place in Surrey, mainly in the villages of Shere and Albury, between June and August 2021, [21] [22] and at Three Cliffs Bay in Swansea. [23] The three-part series became available on BritBox on 14 April 2022. It was then shown on ITVX and ITV in April 2023. [24]

Whatever Madonna-whore complex western society was grappling with during this era, Shields bore the brunt of it. It’s sad to think what a skilled compartmentaliser she must have been. Yet here she is, decades later, in Wilson’s documentary, not only with a lovely family (her two spirited daughters are aghast at her treatment), but also composed, open, sparky – the antithesis of self-pity. There’s too much thematic repetition in the second episode, but this is an absorbing profile, with unexpected interviewees (Laura Linney has been a friend since childhood). It leaves you rooting for Brooke: the child she was and the woman she became. New Agatha Christie adaptation with Hugh Laurie, Lucy Boynton and Will Poulter films in Shere". Surrey Live. 6 July 2021 . Retrieved 7 February 2022. Tracing the parlourmaid, they discover she is now the married housekeeper at Bobby's home. Carstairs was trying to find her. Returning to Wales, they find Moira, who claims she is being followed by Roger and has come to them for help. Frankie is not deceived and foils Moira's attempt to poison their coffee, realising that Moira was Mrs Templeton and is Roger's co-conspirator. Moira then attempts to shoot Frankie and Bobby in the café, but is overpowered and arrested. Several weeks later, Frankie receives a letter from Roger, posted from South America, in which he confesses to murdering Carstairs, murdering his brother, and conspiring in all of Moira's past crimes. Bobby and Frankie realise they are in love and become engaged.

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The main premise of the original novel--a fake will made by an impersonator and witness by people unfamiliar with the real person--is retained but the details of the will and the motives are different. As premises go, it’s preposterous, but that’s all part of the fun. In the two episodes I’ve seen, there’s everything from bathroom mishaps (“sleep-weeing”, anyone?) to waspish co-workers (“Late and intoxicated – the full disco, Ashley”) to eccentric parents (Ashley’s mum about Colin: “Is he broken?”). While Dyer provides left-field moxie, Brammall exudes a Seinfeld-esque straight-man-struggling-amid-kooks vibe. At times the writing needs to be sharper, and not quite so lavatorial, but this is winningly silly, lo-fi, character-led comedy with absurdist panache.