| Pauline Collins | ... | Dr. Catherine Kendall | |
| Oliver Ford Davies | ... | Col. Geoffrey Reece | |
| Kenneth Cranham | ... | George Barton | |
| Jonathan Firth | ... | Mark Drake | |
| Susan Hampshire | ... | Lucilla Drake | |
| Clare Holman | ... | Alexandra Farraday | |
| James Wilby | ... | Stephen Farraday | |
| Lia Williams | ... | Ruth Lessing | |
| Rachel Shelley | ... | Rosemary Barton | |
| Justin Pierre | ... | Carl 'Fizz' Fitzgerald | |
| Joseph Scatley | ... | Sam Knight (as Joseph Scattley) | |
| Richard Clifford | ... | Maitre D' | |
| Chloe Howman | ... | Iris Marle | |
| Ruth Platt | ... | Rebecca Knight | |
| Jack Fortune | ... | Phillip McCain | |
| Dominic Cooper | ... | Andy Hoffman | |
| Roger Frost | ... | Henry Barlow |
Directed by | |||
| Tristram Powell | |||
Writing credits(in alphabetical order) | ||
| Agatha Christie | novel | |
| Laura Lamson | screenplay | |
Produced by | |||
| Phil Clymer | .... | executive producer: Chorion PLC | |
| George Faber | .... | executive producer | |
| Nick Goding | .... | line producer | |
| Suzan Harrison | .... | producer | |
| Charles Pattinson | .... | executive producer | |
Original Music by | |||
| John E. Keane | (as John Keane) | ||
Cinematography by | |||
| James Aspinall | (director of photography) | ||
Film Editing by | |||
| Don Fairservice | |||
Casting by | |||
| Jill Trevellick | |||
Production Design by | |||
| Tim Hutchinson | |||
Art Direction by | |||
| James Lewis | |||
Costume Design by | |||
| Barbara Kidd | |||
Makeup Department | |||
| Lois McIntosh | .... | makeup artist | |
| Mary Southgate | .... | makeup designer | |
Second Unit Director or Assistant Director | |||
| Peter Bennett | .... | first assistant director | |
| Ashley Jackman | .... | third assistant director | |
| Gary Talbot | .... | second assistant director | |
Art Department | |||
| Barry Gates | .... | dressing props | |
| Jennifer Griggs | .... | stand-by art director | |
| Ian Hill | .... | construction manager | |
| Roy O'Connor | .... | property master | |
| Mike Smith | .... | property buyer | |
Sound Department | |||
| Robert Bourke | .... | dubbing editor | |
| Michael Maroussas | .... | dubbing editor | |
| David Old | .... | dubbing mixer | |
| Ashley Reynolds | .... | boom operator | |
| Andrew Sissons | .... | sound recordist | |
| Wayne Brooks | .... | supervising sound editor (uncredited) | |
Camera and Electrical Department | |||
| Richard Brierley | .... | camera operator | |
| Terry Eden | .... | best boy | |
| Brian Jones | .... | gaffer | |
| Andy Kendall | .... | grip | |
| Penny Shipton | .... | clapper loader | |
Costume and Wardrobe Department | |||
| Lee Croucher | .... | costume assistant | |
| Marion Weise | .... | wardrobe supervisor | |
Editorial Department | |||
| Phil Brown | .... | post-production | |
| Maya Papovich | .... | on-line editor | |
| Paul Staples | .... | colorist | |
| Paul Hyman | .... | assistant editor (uncredited) | |
Other crew | |||
| Roger Arscott | .... | location manager | |
| Matt Betteridge | .... | location security | |
| Dan Connolly | .... | location manager | |
| Marissa Cowell | .... | script supervisor | |
| Sammi Davis | .... | production coordinator | |
| Marilyn Goldsworthy | .... | production accountant | |
| Maggie Murray | .... | assistant accountant | |
| Gillian Nesbitt | .... | publicist | |
| Shelagh Pymm | .... | publicist | |
| Christian Reynish | .... | assistant location manager | |
| Anastasia Timeneys | .... | production secretary | |
| Jack Williams | .... | script editor | |
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| Full cast and crew | Company credits | IMDb Crime section |
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This Christie adaptation was flagged as "in a modern setting, with a contemporary twist". There was so much twist they forgot to tell the story, which is a good one. Characters were introduced briefly, with thumbnail descriptions in voice-over, instead of being allowed to show us who they were. Then the "contemporary, modern" angle was shoved in our faces. "And this is my wife, Alexandra, a high-flying barrister, you know, not like in the olden days when women didn't have jobs, and here's Rosemary's sister, who's a personal trainer to the stars and has a black footballer boyfriend, not like in the book which is old fashioned, twee, quaint and weedy and she's a debutante who possible works as a secretary." Instead of a dashing male detective we have two old buffers obviously based on Christie's characters Tommy and Tuppence - former secret service agents who are occasionally called out of retirement. Of course they have to use computers and mobile phones the second they are introduced, and get themselves offstage with "You shadow the husband, I'll go and DO SOME RESEARCH ON THE INTERNET, you know, that modern thingy that they didn't have when Christie wrote her books I mean in her day they probably sent messages by a man in a cleft stick and were hopelessly dull and oldfashioned and never never did anything interesting like having sex." Actually the original Christie story is teeming with adultery - read the book! Read the book! And then watch the enjoyable 1983 film with Anthony Andrews which has the sense to stick to Christie's story. Updating from the 50s to the 80s, and moving from England to America, makes perfect sense. But avoid the TV version with David Suchet, filmed as The Yellow Iris, which muffs the story badly, introducing an unnecessary trip to wartorn South America (!?) and not even showing the second dinner party (filling in time with an equally otiose "South American" dance rehearsal).