Twist: Why do we love these Agatha Christie-style explorations so much?

Is it the global success of Knives Out ($311.6 million on a $40 budget and an Oscar nomination for Best Original Screenplay)? The result of the Kenneth Branagh-initiated revival of Murder on the Orient Express, then Death on the Nile? A mere coincidence? Still, the whodunit, the detective subgenre in which the challenge is to solve a crime between characters, is enjoying new life on the small and big screen.

And Coup de théâtre is the most recent example and one of the most emblematic. Not content with letting Sam Rockwell and Saoirse Ronan investigate the murder, this detective comedy pays a beautiful homage to the queen of quiddity, Agatha Christie, as it takes place behind the scenes of her famous play in 1953. “mouse trap”which has been played in London for 70 years.

So fans of the genre will be delighted, but newcomers won’t be lost, as confirmed by Tom George, the director of this very enjoyable Coup de Theatre, in the company of his lead actor. Sam Rockwell.

AlloCiné: For several years, the whodunit has returned to fashion, film and television. Why do we love these Agatha Christie explorations so much?

Tom George : There are several reasons, I think. For starters, these are brilliant stories that can immerse the viewer as both the viewer and the detective are trying to do the same thing, namely solve the case. As a director, you want the audience to relate to the point of view you develop. And on Whodunit, a lot of the work is already done for you because it asks them to play the same game as the detective involved in the story, and it makes the stories more engaging. And, at the same time, there’s something satisfying about putting puzzle pieces together. There is a mystery, but we know it will be solved eventually. And this makes them satisfied.

Do you enjoy reading an Agatha Christie novel while reading a similar scenario?

Sam Rockwell : A little bit. The story is a different kind of animal, but I had a lot of fun with it. full of surprises.

What are the ingredients for a good whodunit?

Sam Rockwell: A good police investigation requires a false lead. A detective or two. and lavish characters.

Tom George: What’s interesting about Whodunit is that revealing the culprit isn’t the most important ingredient, even if it’s in the name of the genre. . It’s more of a MacGuffin Just the key to a good police investigation.

Whodunits are at their best when all the pieces of the puzzle are scattered and the characters meet. As viewers, we then wonder who to believe, who we can trust in this story. And it’s a good way to see characters under pressure because they have to get things done. or are involved in the case. Or can become one of its victims. It’s good ground for drama, but also for comedy.

The film is as much for those who love Quiddun as it is for those who would not necessarily go to see this type of police investigation

You talked about rich characters on Sam and you seem to enjoy playing very broad roles. Is it easier for you to create a character when you can set the sliders like this and try things out?

Sam Rockwell: Yes, you want to push the envelope. Make sure it is new. We resorted to slapstick comedy, in the style of Inspector Clouseau , and make sure it stays somewhat realistic. It was a delicate balance to strike.

How important is clothing, appearance, or in this case, how your character moves, when creating a role?

Sam Rockwell: It is very important! Hat, coat and even makeup. Hairstyle and mustache too. Shoes. Everything is important to bring the character to life.

Since it takes place behind the scenes of one of his plays, I saw the film as a police investigation as well as a love letter to Agatha Christie.

Tom George: For me, the film is as much for those who love Quidoon as it is for those who, I hope, would not necessarily go to see this type of police investigation. If you’re a fan, you’ll love the gender references throughout the story. But it was important to me that Coup de Theater also worked without these elements. And the heart of the film is this story of association and this character comedy about these mismatched characters coming together to solve a case.

Screenwriter Mark Chappelle and I talked a lot about how to bring these elements together in a way that makes for a satisfying story on its own. And that extra layer, where the film is aware of the genre it belongs to and the tropes it’s taking on, is a bonus: if you understand the references, it’s great. Otherwise, don’t worry, you’ll be fine. (laughs)

We had to make sure that the film worked as a thriller but also a very enjoyable comedy.

Does such a film have to be rewritten a lot during editing? Remove overly obvious clues, or make sure to provide them to the public?

Tom George: Yes, it’s definitely part of the process. When creating a detective story like this, you have to choose carefully what information you give the audience: you want to give them enough so that when the mystery takes shape, it’s enough for them to see the wires together. But if you give too much, they’ll get ahead of the story and settle the case before the detective, so they’ll leave you at risk. You have to find the right balance.

At the level of different tones as well. Comedy and thriller. Make sure they’re carefully tuned, because if you push the comedy too far, you undermine the excitement, the stakes drop, you don’t take the case seriously, and you don’t invest enough in the characters. And, at the same time, if you overemphasize the dramatic element, you drown out the comedy and lose its impact.

During the writing, shooting and above all editing phases, we knew very well that we had to play with the sliders to make the film work as a thriller as well as a very enjoyable comedy.

Interview by Maximilien Pierret in Paris on August 31, 2022