Review: ‘See How They Run’ is a classic whodunnit
See How They Run is a murder mystery with multiple suspects who are also all in show business, making it even more difficult to find the liar amongst them.
The whodunit has a long history in fiction storytelling. Weaving an intricate tale of suspects and motives, sprinkling red herrings throughout the investigation to throw the audience and detective off the trail of the real culprit. Done well, these narratives can be captivating and entertaining; done poorly and observers will become frustrated or bored. It’s all about the suspense, paying attention to the details and piecing together the clues to identify the person perpetuating whatever crime — typically murder — has been committed. In See How They Run, a man with a lot of enemies is killed and it’s up to a couple of ill-matched detectives to find his murderer.
The stage production of “The Mousetrap” is celebrating its 100th performance. A Hollywood director (Adrien Brody) has been working with a British screenwriter (David Oyelowo) to adapt it for the big screen. However, a murder threatens to put both productions on hold. Inspector Stoppard (Sam Rockwell), a veteran of the department struggling with his divorce, and Constable Stalker (Saoirse Ronan), a keen rookie appointed as his partner, are assigned to investigate the crime and find the killer. Unfortunately, the list of suspects is not short and the stage attracts a lot people with colourful pasts.
Whether it’s because Agatha Christie’s books were all written decades earlier or because it’s simply easier to stage a mystery before everyone was connected by technology, it feels as if most whodunits are also period films. Consequently, this one unfolds in 1950s London. Thus, Rockwell is required to assume an English accent, which isn’t half bad when paired with his gumshoe detective drawl. The setting also puts the cast in rather dapper costumes, the men generally in nice suits and the women in tidy, flattering dresses.
Of course, what they say (and don’t say) is more integral to the story, leading Stalker to jot down every detail in her notebook — just in case some minute detail proves important later in the investigation. Her attention detail is both an advantage and disadvantage as it leads to a misinterpretation in one instance and identifying the true culprit in another. Stoppard, on the other hand, has a less rigid approach to the inquiry, interviewing the suspects and absorbing what they say until he can fit together all the pieces of the puzzle. It’s not necessarily an occasion of their styles complementing each other, but they both prove well-suited to their jobs.
Ronan and Rockwell have excellent chemistry, making their interactions, which range from cordial to accusatory, appear genuine. The rest of the cast play their unique roles well, presenting characters who walk the thin line between guilt and innocence. One of the more interesting aspects of the picture is it breaks the fourth wall. Most notably, the opening narration, which provides a witty outline of a typical Christie mystery, and at the conclusion, when both detectives directly address the movie’s audience. Fortunately, it’s done quite organically, so it doesn’t jar viewers and complements the story well.
Director: Tom George
Starring: Saoirse Ronan, Sam Rockwell and Adrien Brody
