It's hard to imagine how Dame Agatha could have pounded out so many
mysteries. I know she lived a long time, but still, if I lived as long
as Methusala I couldn't grind out that many pieces. Not just novels,
either, but plays, including this one. And they all tell the kinds of
stories that involve a lot of lead time while the author works out the
details of the intricate plots. Between Jack Kerouac knocking out "On
The Road" on a single roll of toilet paper or whatever it was, and
Nabokov and his multitudinous 3 X 5 index cards, Christie must have
been very much closer to Nabokov.
This is an engrossing and tightly wound tale of greed, murder,
deception, bigamy, adultery, and all the other good things in life.
It's essentially a courtroom drama with several big -- REALLY big --
surprises. It does not end the way you might expect, with the true
criminal suddenly revealed in all his moral turpitude by the expert,
penetrating examination by the defense, breaking down in the witness
chair and sobbing, "Okay. I did it! I DID IT! I didn't mean to kill
her! I just wanted to frighten her." The play's the thing in this
movie, yet the director, Billy Wilder, brings his own snappy
interpretation to it. The dialog is unashamedly fast. Nobody dawdles
over "significant utterances." Even on the witness stand they seem to
make a series of unhesitating declarations. "Yes." "No." "Yes, I told
you already." And it wouldn't be as good as it is without the acting.
Charles Laughton is the central figure, one of those cute old
curmudgeons that everyone likes because of his weakness for cigars and
brandy. His efforts to bootleg these items under the nose of his nurse,
his real wife Elsa Lanchester, are pretty funny. "She won't even find
the ASHES," he cackles innocently, like a child getting away with
mischief, flicking his cigar ash into an empty drawer. She's always
bright and chipper and energetic, a nice contrast to his flabby sedate
presence.
Una O'Connor as the Scottish maid is extremely engaging as well,
snapping back indignantly at the judge. Tyrone Power is called on to
change from a careless and thoughtful guy, to one stricken by fate,
then back again, and he pulls it off. Henry Daniell, a Robin Hood
villain, and John Williams, ever the legal type, are welcome in every
scene in which they appear. Reliable sorts, don't you know. But Marlene
Dietrich takes the palm. She was everyone's idea of a no-baloney kind
of woman but never anyone's idea of a great actress. And yet, she had
me fooled here. Oh, hammy, sure, but her performances fit in because
EVERYONE is hammy in "Witness for the Prosecution." God forbid anyone
try to make anything serious and arty out of an Agatha Christie
mystery! They're fine, just as they are.
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