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The first film adaptation of the story of Agatha Christie was Leslie H. The Huk and Juluulius Hagen "Moving to M -Quinn", published in 1928. This was just eight years after her first work, "The Mysterious Stylish Affair" was released, so she was still active when a movie version of her stories emerged. As of 1930, Christie also started working on stage works (starting with "Black Cafe"), so it was already a media empire for herself, years before such a thing became De Rigew. As for this writing, there were About 50 official cinema adaptations of Agatha Christie's novels And stories, nearly 40 TV films, not to mention the long-standing TV shows "Agatha Christie Poar" (1989-2013) and "Miss MarPle of Agatha Christie" (2004-2014), plus the entire host of projects where she is a character, including 2022 "see how they run).

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Entering many Christie's radio adaptations would last too long here, and it would be stupid to mention all the mysteries of the killings that inspired Christie. It was so fruitful and occupies such a huge space in the genre of murder-mystery, it will be forgiven for thinking that it is a majority percentage. Everyone said, She wrote 74 novels and 16 plays and published 16 collections of short stories. Christie continued to write books until 1973, and died in 1976 at the age of 85.

Of course, because there were so many recorded adaptations to her work, Christie had to sit through no little bad. Indeed, some of the adaptations were so horrible that her friends warned her to see them. It was forbidden to see the "alphabet killings" in 1965, saying "my friends and publishers told me that the agony would be too big".

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Piece of Radio Times for 2017 She revealed that Christie had not too many kinded words about her films at all.

The article on Radio Times noted that Christie indeed, Really He hated the performances of actress Margaret Rudderford, who starred in a strange, comical version of her detective, Miss Marpl, in four feature films in the 1960s. She was particularly embarrassed by the movie "Murder, Ahoy!", Saying she regrets selling Miss Marpl. "It was my fault," she quoted. "One makes things for money, and it's wrong to do so, because one part with one's literary integrity." Uh.

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Christie said elsewhere that it is not really Ruderford's fault. The author's secretary, quoted in the magazine SmithsonianChristie's words when he said, "Miss Rudderford is a good actress. She does not be similar to Miss MarPle's own idea of ​​(Christie)." Christie, however, wanted to prove that there were no difficult feelings for Rudderford, and even devoted her 1962 story to the actress "mirror cracks from one to another".

In her autobiography, helped with the title "Autobiography", Christie was moving against the film adaptations of her work in general, dissatisfied with each of one reason or another. Her most general appeal is that too many directors wanted to make murderous mysteries in miraculous comedies. For the "killings of the alphabet" - the one he was forbidden to watch - the producers initially wanted a comical actor Zero to play his detective Hercule Poar, the idea that Christie rejected. Instead, the directors went with Tony Randall, which seems like a step down to me.

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Christie didn't even want The widely celebrated adaptation in 1974 on "Orient Express Murder" Directed by Sidney Lummet. "It was very well done," she said, "except for a mistake I can't find in my heart to forgive." She hated that Albert Jenny, who played the pm, argued comedically over his strange, large mustache. Christie hated how "funny" it was.

She also opposed the fact that some considered her dark stories of death and murder as miraculous and pleasant. They are not. Read them and you will find nothing but shadows.