Scene from “Watch Them Run” courtesy of Searchlight Pictures.
See how they run it’s a murder mystery with multiple suspects who are also all show business ties, making it even harder to find the liar among them.
The detective story has a long history in fictional storytelling. Weaving a convoluted tale of suspects and motives, throwing up red herrings throughout the investigation to throw the audience and the detective off the trail of the real culprit. Done right, these stories can be fun and interesting; done poorly, and observers will become upset or bored. It’s all about the suspense, attention to detail, and gathering of evidence to identify the person who commemorates any crime – usually murder – that has been committed. AT See how they runa man with a bunch of enemies is killed, and it’s up to a ragtag pair of detectives to find his killer.
The production of “The Mousetrap” turns 100 years old.th performance. A Hollywood director (Adrian Brody) worked with a British screenwriter (David Oyelowo) to adapt it for the big screen. However, the murder threatens to put both productions on hold. Inspector Stoppard (Sam Rockwell), a division veteran struggling with a divorce, and PC Stalker (Saoirse Ronan), an enthusiastic rookie assigned as his partner, are tasked with investigating the crime and finding the killer. Unfortunately, the list of suspects is not small and many people with a bright past come to the scene.
Whether it’s because all of Agatha Christie’s books were written decades ago, or because it was easier to play the detective story before everyone was tech-hooked, it seems like most detective stories are period films as well. Consequently, the action takes place in 1950s London. As such, Rockwell must speak with an English accent, which is nice when combined with his drawling detective accent. The setting also dresses the actors in rather dapper costumes, with the men generally in fine suits and the women in neat, flattering dresses.
Of course, what they say (and don’t say) is more of an integral part of the story, so the Stalker writes down every detail in his notebook – just in case some small details turn out to be important later in the course of the investigation. Her attention to detail is both an advantage and a disadvantage, as in one case it leads to misinterpretation, and in the other it leads to the identification of the true culprit. Stoppard, on the other hand, takes a less rigid approach to investigation, interviewing suspects and absorbing their words until he can piece together all the pieces of the puzzle. This doesn’t necessarily mean that their styles complement each other, but they are both well suited to their work.
Ronan and Rockwell have great chemistry, making their interactions, which range from cordial to accusatory, seem genuine. The rest of the actors play their unique roles well, presenting characters that walk the fine line between guilt and innocence. One of the more interesting aspects of the painting is that it breaks the fourth wall. In particular, the opening narration, which wittily lays out a typical Christie mystery, and the conclusion, when both detectives speak directly to the film’s viewers. Fortunately, this is done quite organically, so it does not irritate the audience and complements the story well.