By Agatha Christie
While Richard Abernethie, the grasp of Enderby corridor, dies his heirs gather on the massive Victorian mansion to listen to the examining of the desire. it's then that Cora, Abernethie's sister, comes out with an alarming thought: "But he was once murdered, wasn't he?" the following day Cora is located brutally bludgeoned to demise in her domestic.
None except Belgian sleuth Hercule Poirot is summoned to Enderby in pursuit of the assassin. Suspects abound together with a wayward nephew unfortunate with ladies and horses, a favourite and probably innocent sister-in-law, feuding nieces, a nosey housekeeper, and a disingenuous paintings collector.
Poirot needs to conjure all of his deductive powers in an effort to unmask the killer and his ultimate end is an excellent and unforeseen as ever. After the Funeral is vintage Christie at her most sensible.
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Extra resources for After the Funeral (Hercule Poirot, Book 29)
No doubt implicated in thi s e vo lu tio n is the double co nstra in t of budget restrictions (tlje cine m a too is su b jected to a wartime economy during hos tilities) and e n closu r e within the studio, whi ch would indicate as a n indirect co nseq u e nce that the breadth of sp ace a t th e beginnin g of the 1930s is a remnant of the silent film in the sound era. There is a third differen ce that is easily noted , even if it is not e n tirely sp ecific to The Big Gamble (Fred Noble , RKO , 1931) The Penguin Pool Murder (George Archainbaud , RKO,1932) Follow Me Quietly (Richard 0.
StiIl, if the context of 24 c f F a II C \01 II C. F f( n FILM NOIR ON THE EDGE OF DOOM 1946-55 in France ca n explain the crea tio n o f the term 'fiLm nair', it is astonishing that it has lasted and that it has regularly been reviv ed and renewed by su cceeding ge ne ra tion s, until now and the present volume. Beyond th e questions examined in th e precedin g paragraphs , what sp ecifically cinematographic elements have we found in American detective films of the 1940s and 1950s? The re spo nse ma y reside precisely in the conjunction o f bla ck and whit e with the stud io production system .
Alan SihT I' and Eliza be th Wa r d . cds .. Film Noir (Lo ndon : Se ck el' a nd Wa rb u r g . I ~l H ()) ; Foster I Iirsch . Film Xo ir; n il' lrark Sid e of t/II' SrT/'I ' 1I (Sa n Diego : A. S. Ba rn es. El HI); Ro be rt O ttoson . A R ei eren rc (;" id,. u takes the greates t cri tica l di sl:lIIu' from traditional d efini tio ns. ~, (i, Ra ym ond Borde a nd I::tie n ne C ha u mc io n . Punorama duiih« uoir am eri cain (Pa r is : Lex Ed itio ns de Miu ui t, 1955 ), I l itrhoxk, as is wel l kn own .