Very well executed

It's easily one of the freshest, sharpest and most enjoyable films of this year.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

By the time Guy Hamilton directed "The Mirror Crack'd" (1980), he had left the days of "An Inspector Calls" (1954) long behind. Not only had his expertise and confidence improved, he felt that he could handle any important actor or actress, no matter what their hang-ups or how vulnerable their egos. With "The Mirror Crack'd" (sic), Guy Hamilton had control of a staggering cast of super-popular players led by Kim Novak, Edward Fox, Elizabeth Taylor, Angela Lansbury, Geraldine Chaplin, Tony Curtis and even Rock Hudson. That line-up certainly helped at the box-office! So did a delightful script, full of amusing jibes, as well as an intriguing Agatha Christie mystery. The movie's particularly lush production values (thank you, cameraman Christopher Challis) are well served on the excellent Anchor Bay DVD.Maybe it was too much of a good thing! The movie was certainly popular, but it could not be described as super-popular - at least not in theaters. It drew a much larger audience on TV, but it had such an expensive cast, I doubt if it ever broke even!

This isn't the best film adaptation of an Agatha Christie mystery or even in the top five. Those would probably be Murder on the Orient Express, Evil Under the Sun, Witness for the Prosecution, the Judith Anderson version of And Then There Were None and Murder, She Said with Margaret Rutherford but this does have some pleasures to be found within.Chief among those pleasure is the cast. Guy Hamilton, who followed this up with Evil Under the Sun, managed to corral a great deal of high quality talent. Angela Lansbury makes an okay Miss Marple but her obvious makeup detracts from her being completely believable in the part. Geraldine Chaplin is also fine as Taylor's assistant although her part doesn't offer much depth. Elizabeth Taylor and Rock Hudson team well giving off that old time movie star glamour, this was Rock's second to last theatrical feature and the last time he looked really well on the screen, but it's not their story that really sets off sparks on screen. The real scene stealer who walks off with every second she's on view is Kim Novak in an absolute gem of a comic performance. She looks sensational and the barbed dialog she and Liz share is worth the price of admission itself. The only real drawback is that the story is an obvious ripoff of Gene Tierney's personal tragedy and from that angle, since it sticks so close to the details, it is in rather bad taste. However the story was widely known so could have been considered in the public domain.Overall a well made, pleasant entertainment.

Enjoyable as a period piece, but more like the period it was set in - a title card says 1953 - than 1980, when it was made. With some really uneven or just plain consistently bad or mediocre performances, plus some baffling directorial choices and a clichéd script. Kim Novak doesn't just show up in a car from 6 years later, but the most recognizably 1959 car possible, a white Cadillac convertible with the top down making the famous garish fins look even bigger. The only thing campier than the Cadillac is Kim Novak's performance. Her portrayal of a preening bitchy Hollywood star isn't remotely believable. Liz Taylor's version is less bad, being not very believable (but not was wildly ridiculous as Novak) when the character is in public and at least sometimes not bad when the character is in private. Angela Lansbury is sort of passable, but plays the character in as broad and clichéd a way as the nearly identical lady detective (except of course a Maine rather than British accent) she later did on TV. British actor Edward Fox is fine of course. The real surprise is Tony Curtis. He's the only American actor in the film who is natural and relaxed and motivated. He plays the producer as a somewhat comic character, as obviously they were all directed to do, but he's the only one who really seems otherwise like a real guy, Bronx accent included. And as others have mentioned....whose idea was it for Miss Marple to light up? Not even a line justifying it, like maybe "Nothing like sucking on a fag after a hard day sleuthing and deducing, I always say." Followed by blowing a couple of nice smoke rings.But its an interesting film. Probably the script writer(s) is way better than the truly terrible director. First, it's Agatha Christie and even better, a Miss Marple mystery. Second, there's this whole meta thing going on on several levels. It opens with (spoiler alert, sort of) a black and white 50's style British mystery film which we find out is being shown to the village by the vicar when the film breaks. Then the color "real" stuff starts. But it's about a film being shot in the same illage - an American film featuring American actors but about British historical monarchy subjects. The American stars of the film portrayed by Liz Taylor and Kim Novak are supposed to be sort of has-been American film stars, who of course are more known for star quality than acting chops, kind of like the actual actors cast in the roles. The very British inspector is such a fan of the films starring the character portrayed by Liz Taylor he has seen them multiple times and thinks she is a great actress. The local girl, grown up, is star struck and had an encounter back in the 40's with the character portrayed by Liz Taylor which was the greatest thing that ever happened to her in her whole life and her story of the encounter is pivotal to the plot. It's the director who screwed all this very promising stuff up. The fake black and white film at the opening seems really fake. A real period British film would feature non-method but in its own way very intelligent acting, which this does not. Liz Taylor and Kim Novak, as I mentioned above, are not very believable (Liz) or absurdly unbelievable (Kim) as stars out in public. Kim Novak is also quite unbelievably bad when shown being shot in scenes for the film they are shooting. Oh,also any film using a built set for some scenes would have been shot on a British or American sound stage anyway, not at a nonexistent sound stage in the village. Like in some earlier American films, reality is sacrificed for some idea of reality. A good director would have not violated reality for hackneyed ideas of what the script is about. Here's how to direct famous American actors portraying famous American actors: get them to act as well as they can in any scenario, not portray the meaning of the scene or how they think the character should act. Being there and listening and allowing and being vulnerable and are the only things that ever work, in something semi-satirical or whatever.

Pretty straightforward rendition of the Agatha Christie novel, with a few broad industry in-jokes. Unfortunately the novel was one of those tired Christie types relying on the "hidden illegitimate child" device that Christie used for about half her novels.Angela Lansbury, Rock Hudson, Tony Curtis ("funny man, I wouldn't be surprised if he dyed his hair") and Elizabeth Taylor star in this period film in an early 1980s looking 1953. This was a rather stony period for the British film industry - and it shows. There isn't much attempt to make it look like 1953, and the cars and stuff just look like manky old cars (which of course is what they were in 1980). It isn't a patch on the British TV adaptions made more recently.I was surprised to see it was a cinema release as it looks very much like a telemovie of the period, and is very similar in style to the ABC America television series of the same period.