The recent success of Rian Johnson’s Knives Out seems to have rekindled a cinematic interest in whodunits. Johnson’s sequel, Glass Onion, is due out soon (on Netflix) but, meanwhile, on the big screen there’s See How They Run, a lighthearted spin on the genre, directed by Tom George (previously best known for TV’s This Country) and written by Mark Chappell.
It’s 1953 and Agatha Christie’s The Mousetrap is already approaching its one hundredth performance. Moves are afoot to turn it into a motion picture, spearheaded by odious American screenwriter Leo Kopernick (Adrien Brody) who wants the chosen screenwriter, Mervyn Cocker-Norris (David Oyelowo), to amp up the sex and violence to make it more screen-worthy. Okay, so there is a clause in the play’s contract, stating that it can never make the transition into film until its theatrical run has ended… but that won’t be long, surely?
Kopernick quickly winds up dead (don’t worry, this is in no way a spoiler) and suspicion initially falls on Cocker-Norris. But, as rumpled, hard-drinking Inspector Stoppard (Sam Rockwell) soon begins to discover, there are lots of people in the cast and crew who have reasons to bear a grudge – and anyway, he has his hands pretty full with his over-eager assistant, Constable Stalker (Saoirse Ronan).
See How They Run is a tremendously likeable film, virtually stuffed to the gills with big-name actors having a ball in small roles, many of them based on real life characters. Harris Dickinson offers a nicely judged Richard Attenborough (who starred in The Mousetrap‘s original production) and Pearl Chanda is excellent too as his wife and co-star, Sheila Sim. Rockwell does a suitably world-weary turn as Stoppard, but for my money it’s Ronan who really makes this fly, creating an absolutely adorable character, determined to make her mark in a world that has until now been entirely dominated by men. Plaudits should also go to comedian Tim Key, who does a brilliant job of embodying a loathsome police commissioner.
As you might expect, the script is as meta as you like, with plenty of in-jokes and sly references for theatrical fans to pick up on – but, more importantly perhaps, this is funny throughout, with some perfectly timed pratfalls thrown in for good measure. While it’s hardly destined to linger for long in a viewer’s mind, it’s nonetheless a very pleasant way to spend a well-paced hour and thirty-eight minutes.