Just perfect...

i must have seen a different film!!

While it doesn't offer any answers, it both thrills and makes you think.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Apparently Bette Davis fans will watch her in anything, which explains why even though she was deathly ill she agreed to travel to England to do this made-for-TV mess. She looks far more ill than the role suggests, supposedly in her current condition because of a bout with the flu. Indeed, she looks ghastly in over-emphasized make-up and is unable to give anything but poor line readings to her role as the woman who is rumored to be the victim of a poison plot.Even older than Bette is Helen Hayes as Miss Marple, but she at least is spry enough to convince us that she could be the meddlesome type her character is supposed to be. Her scenes with Leo McKern, as a befuddled police inspector, are a joy to watch.The less said about the rest of the cast, the better. Even pros like John Mills fails to make his character believable as the head of the household. The usual red herrings don't work here, as the murderer is revealed far too soon for anyone paying attention to details.Chalk this one up as another misfire in an attempt to do justice to Agatha Christie's work.

This film is interesting for a number of reasons - not so much as a sharp pot-boiler that will keep you guessing to an enthralling climax while being stylishly stuffed full of Joan Hickson-esque quintessential old world charm - but more so because of when and how it was made, and who appears in it.The 1980's embraced the TV Movie, and the major studio players from the 30's, 40's and 50's, were still to be found appearing on screen in them, some times looking ridiculously out of place and, quite frankly, far too old and somehow exercising a diminished talent. But often still giving assured and classy performances, showing that to 'The End' (quite literally) they maintained their professional ability and standing. One can only look at Helen Hayes - The First Lady of the American Stage as she was referred to (I suppose this is why she begins quoting Shakespeare when she is seen on stage in this film) - and revel in her warm and intelligent final film appearance, and then recall poor Joan Crawford, an Oscar winning actress who thrilled and chilled in many movies, iconic in fashion and style for most of her adult life, whose final film appearance was the appalling 'Trog', where she looks old, embarrassed, and barely able to act at all. (Mind you, in fairness, she is romping about for most of it with a man in a dodgy gorilla suit grunting and moaning - the gorilla, not her.) The TV Movie could be regarded as a safe house cum retirement home for the once famous. (Channel Five daytime scheduling entertains quite a few, and you will often find an ex-Charlie's Angel or Dynasty cast member crying a lot, usually over the abduction of a child or diagnosis of an incurable disease). The plot lines and characters within a lot of these types of 'based on actual events' or biographical stories are almost echoes of some of the dramas being made on film by the big studios (particularly Warner Brothers and Universal) in the 40's and 50's. If they were shot in black and white, the short and sharp narratives, and economic style of shooting and limited camera work, could almost put them in to the B-movie Film Noir category. They are modern day (or 80's into 90's into today) versions of the pulp fiction and magazine serial type stories of times gone by.As a film fanatic, with a great love of actresses of the 30's and 40's, I cherish a movie like Murder With Mirrors. It seems crazy to have Margo Channing from All About Eve, the nurse from Farewell to Arms (the character name escapes me - I could have said one of the nannies from One of Our Dinosaurs is Missing, but great as that movie is, it is not Miss Hayes's finest celluloid moment),Miss Jones from Rising Damp along side Rumpole of the Baily, the husband from Fresh Fields and a 'teenage' Tim Roth. There's a kind of Sunday night 'bath and hair-wash and finishing off your homework' type of cosiness about this movie as well. It does lack humour, especially compared to Ustinov's Poirot, and it is not at all charming in the lavender water scented fashion that seems to go hand in hand with Hickson or even Margaret Rutherford's Marple (the contemporary setting has a lot to do with that - no one even speaks in a faux country bumpkin accent until the police constable opens his mouth!), but it zips along in a pacey soap opera kind of way, and Leo McKern is laid back and commanding while Dorothy Tutin is extreme and commanding.Bette Davis was in pain for much of the shoot (according to her book 'This 'n That') and she doesn't seem to be enjoying herself much. But the short scenes she shares with Mills and Hayes are so solid and well acted (she is so frail and laden down with make-up, it is a wonder she doesn't actually topple over forwards!) that it is a blessing to see her still working.This film is not so much about the story or the style, it is about cherishing the starry cast who all contribute as best they can and somehow, make you feel engrossed by and sympathetic to their altogether quite flimsy characters.

It's interesting to set this film beside the Joan Hickson version, which was, like her whole Marple series, excellent. This version is not so, so terrible, though. It benefits from a sumptuous location and excellent actors like McKern, Woodvine and Tutin. I don't feeling the actors are having a laugh at the author's expense - unlike everyone involved in the latest run with Geraldine McEwen as Marple, which I find totally unwatchable.Christie's stories don't suffer from being updated to the 80s. The issues she raises here were just as live in the 80s as the 50s, and now. She gets in some sharp observation of the type of person who pretends to everyone (and themselves) they are only interested in helping young criminals, while using them to boost their ego, confirm their theories, and what have you. These leeches are still around.

Compare this to _They Do It with Mirrors (1991) (TV)_ and you see why even Agatha Christie thought 'Joan Hickson' (qv) the perfect Miss Marple. Not even Sir 'John Mills' (qv), 'Bette Davis' (qv) and 'Helen Hayes' (qv) can make this film truly enjoyable. The producers must have been unable to afford to set the film in its time, and just dropped it 40 or 50 years out-of-time: doomed from the start.