Compared with the Poirot and Marple mysteries, Agatha Christie’s “Tommy and Tuppence” novels are decidedly third place. The idea of a young couple wanting to solve crimes in the style of other fictional detectives was a cute one and the plots and the approach were lighthearted.
In 1982-1983, British television came out with “Partners in Crime,” in which the Beresfords, Tommy (James Warwick) and Tuppence (Francesca Annis), sleuthed around through 11 tales, one of which was “The Secret Adversary.” Warwick was rather dull, Annis a bit over the top; but they were enjoyable on a somewhat shallow level.
For some reason, it was decided to redo “The Secret Adversary” and give “N or M?” a try, with yet a new team: Jessica Raine (Tuppence) and David Williams (Tommy). Each story is given 3 parts of 55 minutes each—and I read that the British viewers’ reaction was less than favorable.
For one thing, Christie’s spy novels are never quite as good as her murder mysteries. (See “The Big Four,” the worst of the Poirot novels.) Secondly, Tommy and Tuppence are forever making the wrong moves, and in the real world they would have wound up dead in the first few hours.
Alas, Warwick’s Tommy was dull, but he looks like Olivier when compared with Williams. As some actor once said about another of the profession, he “runs the gamut of emotions from A to B.” Nor is he handsome enough and certainly not young-looking enough for the part. Raine is a better actor but again not young-looking enough. So you can see that a much better set of leads might have helped the clunky plots. And each story having165 minutes running time merely emphasizes the awkwardness of the plots.
With an eye to a second series (which has been blurred by the poor reception of this first series), the writers established two permanent secondary characters. James Fleet plays Carter of the Secret Service, while Matthew Steer is the scientist Albert. Neither is encouraged by the director to bring any life into the proceedings.
At least the older series had the advantage of the colorful costumes of the 1920s. Here, the far drabber costumes of the 1950s are of no help. So while I usually carp about television’s taking a good series and remaking it into a bad one, here we have a not all that good a series being made into a poor one. If there is a lesson to be learned, why hasn’t it?
There is some interesting bonus material and the subtitles are much appreciated.