Um artigo com o título “Why Agatha Christie is ready for a Hollywood revival” foi publicado em 05.04.2013 no site da revista The Week. Veja os trechos iniciais:
Get ready, mystery nuts: Agatha Christie, who was once dubbed “the world’s best-selling author” by the Guinness Book of World Records, is primed to make a big comeback. On Monday, Christie’s estate signed with talent agency William Morris Endeavor (WME) to develop new adaptations of the author’s work for film, television, and digital media.
In the near-century since Christie’s first piece was published, her dozens of novels, short stories, and plays have sold billions of copies, which makes her — from a sales perspective — the most successful female writer of all time. But the success of Christie’s work hasn’t inspired the same sustained media interest as that of fellow British authors Jane Austen and Charlotte Bronte, for example. Bronte’s Jane Eyre has seen numerous big-screen adaptations (the most recent was released in 2011), and Austen’s work has inspired everything from devout adaptations (including the Keira Knightley-starring version of Pride & Prejudice) to playful twists on her original stories (Clueless, which is loosely based on Emma, and From Prada to Nada, which draws inspiration from Sense and Sensibility.) Though her characters and stories have stayed alive through a repetitive series of films on British television, Agatha Christie’s impact has waned.
That wasn’t always the case. The first successful Christie adaptation came in 1957, when Billy Wilder helmed the multiple-Oscar-nominated Witness for the Prosecution. Over the next 30 years, Christie heroes like Miss Marple and Hercule Poirot appeared in multiple movies, played by the likes of Margaret Rutherford, Albert Finney, and Peter Ustinov. The Poirot adaptations were particularly successful, leading to a massive box-office gross for 1974’s Murder on the Orient Express and Oscar wins for 1978’s Death on the Nile. But Ustinov’s final appearance as Poirot in 1988’s Appointment with Death became an unwitting, ironic death sentence for Christie on the silver screen. After Ten Little Indians the following year, Hollywood forgot about her, and it hasn’t remembered her until now.
The blackout on Agatha Christie adaptations has been as much Hollywood’s loss as Christie’s, because the author’s oeuvre is a model of something American film has struggled for decades to find: A female creator that offers progressive views about women young and old. Women had barely earned the right to vote when Christie first made waves as a writer, disseminating what scholar Roberta S. Klein describes as “unconscious, intuitive feminism.” Thankfully, Christie’s first publisher, John Lane, insisted that she be published under her own name, rather than take on a male pseudonym. Poirot might have dominated her pen, with appearances in more than 30 of Christie’s titles, but Miss Jane Marple and Mrs. Tuppence Beresford balanced out her masculine hero by offering fierce and capable female detectives unrivaled in comparable stories of their time.
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