And Then There Were None, Film analysis of a modern film based on Agathie Chrisities Novel

And Then There Were None, Film analysis of a modern film based on Agathie Chrisities Novel “And Then There Were None” is an extremely successful novel written by crime story queen, and most popular modern author: Agatha Christie. An adaptation of the famous novel is “Ten Little Indians”, a moderately successful film by Allan Berkinshaw. The themes of both stories include Justice, crime, murder and fear .The novel is about 8 guilty criminals (Emily Brent, Phillip Lombard, Vera Claythorne, Justice Wargrave, Dr. Armstrong, Tony Marston, Mr. Rogers, Mrs. Rogers, general Macarthur and William Blore) and two guilty hosts invited onto an island by a mysterious character that starts off killing them one by one according to the seriousness of their guilt. All the characters end up dying and even the mysterious characters who was one of the ten later commits suicide. In both plots the murders follow a mysterious nursery rhyme. The film is also about 8 (Marian Marshal, Phillip Lombard, Vera Claythorne, Justice Wargrave, Dr.The original title of And Then There Were Non e (19...Werner, Tony Marston, Elmore, Mrs. Rogers, General Macarthur and William Blore) criminals isolated in a remote African desert accompanied by two hosts. The character names have changed from the novel in the film, but once again a mysterious character starts off killing the ten victims one by one. However, at the end of the film, two characters survive. Such significant changes in the film are some of the reasons the film failed to compete with the popularity of the novel “And Then There Were None”.The first point in the film where the plot drifted form Agatha Christie‘s novel was the very beginning where the setting takes place in the middle of a remote African town, while in the Novel all the characters first meet at Soldiers Island. Both plots depict the characters being isolated from the rest of the world. However the film had failed...

THE RADIO ADVANTAGE

THE RADIO ADVANTAGE Between 1993 and 2002 I wrote and broadcast over one hundred radio pieces for CBC (the Canadian Broadcasting Corporation, Canadas public radio network). Fifty of those were humour, another fifty, scripts for conversations about folklore. Three were 12-minute features with voice and recorded sound, and fifteen were pieces about shepherding written as letters to the shows host.   Ã‚     Writing for voice is different from writing for print. Some things you simply cant say on air. For example, an early piece concerned the varied liaisons among my angora rabbits. Angora rabbits is difficult to say naturally and clearly. The first RA is the sound of RAW, the second the RA in RAT. On air I said ANGORA BUNNIES instead.  Ã‚     I learned two kinds of timing in radio. My first lesson was to keep to time, write succinctly, and condense every piece to 550-650 words. Anything else either ran over my five-to-seven minutes or had to be read too quickly to sound polished.   Ã‚     My se cond lesson was vocal timing. When you read aloud, breath matters. A sentence had to be short enough to be read aloud easily in one breath, or else break naturally for a breath. (I also learned not to pop my ps or hiss my ss on the microphone!)  Ã‚     I had to use intonation to compensate for missing visual cues, and allow pauses for the listener to react to something funny. Essentially, I learned to perform for an unseen and unheard audience. (Even if the producer laughed as I read, I couldnt hear her from the sound studio.)   Ã‚     This taught me to deliver humour on trust, believing that Id left room for a laugh or a groan in the right places. Writing humour for the page is also a matter of trust – we dont see our readers immediate reactions. When Id done thirty or so short pieces of humour, and had had feedback from listeners, I had a well-developed sense of comic timing.   Ã‚