dbdumonteil Although it featured Hercules Poirot,"the hollow" (FRench title : "Le Vallon" ) was much more psychological drama than detective story.The plot essentially concerned Gerda (the wife who had lots of hang-ups),her husband John and artist Henrietta Savernake .These three characters were given French names and are lost in the supporting cast.It's hard to find who is who in this mess,even if you are familiar with the novel .The ending of the book which was deeply moving -unlike most of Christie's books it did not feature a happy end - is butchered.Good actors are wasted (Miou-Miou,Arditi,Wilson) and others are simply not up to scratch (Bruni -Tedeschi).Two short appearances by great actress Emmanuelle Riva are the old cine buff's consolation prize.

gridoon2018 I haven't read Agatha Christie's novel "The Hollow" yet, but I have seen the 2004 David Suchet version of it, and that was my standard of comparison here. The biggest difference, of course, apart from all the changed names, is that Hercule Poirot is completely removed from the action, and a random French inspector takes his place. The role of the police in general is limited in the film, which results in a certain lack of urgency, even after the murder is committed; however the acrophobic finale is well-done. According to most reports, the 2004 version was faithful to the novel; this 2008 take has apparently "spiced up" the story a bit with additional red herrings, which I thought was not a bad idea at all, as this particularly mystery is, IMHO, one of Christie's thinnest. Casting-wise, the big winner for the 2004 version is Megan Dodds, who plays a free-spirited, clever, pre-feminist artist; Valeria Bruni Tedeschi, who has the same role here, does not manage to bring her to life the way Megan did. But the 2008 version also has a clear winner: Caterina Murino, fresh from "Casino Royale", makes a more irresistible femme fatale than Lysette Anthony, and has a brief but showstopping nude scene, as well! Overall, the 2004 version is better, but "Le Grand Alibi" is also interesting, particularly for Christie fans. **1/2 out of 4.

guy-bellinger The legal successors of Agatha Christie were known to be very strict with film producers. Their terms of reference indeed implied that the screen adaptations of Lady Agatha's mysteries were to be set exclusively within the four-decade period (1920's-1960's) in which she had been active and in the very places she had described (England most of the time of course). Then in 2000 or thereabouts they suddenly relented and started accepting adaptations that were less faithful to the letter provided of course they stuck to the spirit of the original work. As a result, the stories could be updated, the action relocated while the sacrosanct investigators (Hercule Poirot, Miss Marple, …) could be replaced by more anonymous though not necessarily less colorful local sleuths…Would Miss Christie's celebrated whodunits survive such a treatment? It looks as though they do. In France Pascal Thomas was the first to step into the breach (he made two adaptations, 'Mon petit doigt m'a dit' and 'L'heure zéro' and his currently shooting his third one). Now it is Pascal Bonitzer's turn to offer French viewers his own re-reading of 'The Hollow', first published in 1944, oddly retitled 'Le grand alibi' (a title previously used for the dubbed version of Hitchcok's 'Stage Fright').The common point of the three films is that their plot has been transposed to contemporary France, that they are very faithful to the source novel (their plot twists have not been altered or very little) and that they play by the rules of the detective story genre, never outsmarting the writer and each time providing the viewer with a very satisfying mystery climax.What distinguishes them is the tone adopted. While Thomas' two films have a quirky offbeat poetic humor Bonitzer slashes at his characters in a harsher, more down-to-earth way, notably through nasty, biting dialogs.A senator (self-assured, no-nonsense Arditi), his conventional wife (hilariously goody-goody Miou-Miou), some of their relatives and their guests (womanizer Lambert Wilson, sex-bomb-with a brain Caterina Murino and others all played by very competent actors) are not left unscathed by Bonitzer (and Christie, it goes without saying)'s scalpel. Anyway, whether adapted by Thomas or Bonitzer, evidence is that there is more to Agatha Christie's crime stories than just well constructed but hollow pulp fiction. What allows her writings to transcend time and borders is the characters she created, most of them hiding their vices behind the varnish of good manners. Finding the murderer is also unveiling the dark side of human nature. What is more universal?