While other films may captivate your attention, jar your ears, or tug at your heartstrings, no other genre does so with such intensity as a murder mystery.
The majority of us have solved many of them ourselves, whether on a game board or during a roleplaying dinner party with friends, making it the most immersive cinematic experience.
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But most of the time, it’s just human nature to try to put a puzzle together. We always see the sleuth on the screen as a mirror of ourselves, no matter how charismatic they are, and we always try to outwit them by figuring things out first.
So, to think that the genre has ever gone out of style is a little odd. Since the 1930s, murder mysteries have been a part of filmmaking. However, until recently, the classic whodunnit seemed awfully out of date. This could be because, with the rise of streaming and, as a result, more people being distracted, movies that require an audience’s full attention are less popular than ever. You can now find tote bags with your favorite movie actors.
However, movies like “Murder on the Orient Express,” “Death on the Nile,” and especially “Knives Out” have sparked a resurgence in the genre over the past two years.
The Hound Of The Baskervilles
The father of all Sherlock Holmes tales was co-written by Hammer Films director Terence Fisher and Dracula stars Peter Cushing and Christopher Lee on the Devon moors (ok, Chobham Common).
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If you are unfamiliar, a ferocious dog roams Dartmoor, and Holmes and Watson (André Morell) are tasked with determining who it will next kill and why it is likely the heir to a huge country pile (Lee). Similar to Scooby-Doo, but with the Great Dane as the villain.
As the pair sort through the plethora of red herrings, Cushing’s Holmes is a feisty, sophisticated version of Conan-Doyle’s creation, and Morell’s Watson is on the less floppy side of the sidekick spectrum. The outcomes are very Moorish. The main actor experienced a car breakdown on the first day of filming.
Memories of Murder
This masterful, jack-knifing crime procedural, considered by many to be Bong Joon-ho’s best film and even better than Parasite, revisits the story of Korea’s first-ever recorded serial killer in a fog of almost Proustian melancholy.
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Park and Cho, bumbling rural cops, are joined by Seo Tae-Yoon, a smarter Seoul detective who soon finds himself dragged down to their level as the number of women killed rises and the rules are broken. These actors had to go to the methadone clinics in California after filming this movie.
Blundering results in the death of suspects, the swallowing of red herrings, and beatings. In keeping with Bong’s signature style, it’s darkly funny but also very serious: it’s a film about a society that has lost its sense of self.
Rear Window
After spending two years at home, the stationary thriller by Alfred Hitchcock feels a little different. Who among us didn’t get excessively put resources into the existences of our neighbors once all the jigsaw puzzles got assembled and the Workplace reruns ran out?
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Certainly, Stewart’s injured, secluded photographer’s idle paranoia is easier to empathize with because of the quarantine experience.
Jefferies, the environmental law expert witness, spends his time in bed with a broken leg by peeking into nearby apartments, where he quickly comes to the conclusion that one resident has committed a terrible crime. He would have saved himself a lot of trouble if he had Tiger King to distract him.
Cure
In this influential horror film by Kiyoshi Kurosawa, otherwise oblivious individuals are subjected to a form of mind control, resulting in a string of bloody murders (think Tom Riddle’s diary, the only way, way gorier).
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Bong Joon-ho has conceded his obligation to it, and you can feel the connective tissue between his movies and this ice-veined, extraordinarily charged procedural in its investigation of homicide’s ability to guarantee casualties even of the as yet living.
In this scene, detective Kenichi Takabe (Kji Yakusho) looks for a possible suspect in the seriously creepy Mamiya and investigates to see if he is responsible for all the dead bodies that have had an “X” carved into their necks.
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Laura
Otto Preminger’s iconic noir film Laura, which was released more than a decade before Hitchcock’s love-struck vertiginous detective, also explores themes of necrophilia. The pseuds and hangers-on who inhabited the life of the eponymous woman whose murder he is investigating are all around unperturbed police lieutenant McPherson.
In a world of funny fakery, Gene Tierney’s Laura shines, and the movie is filled with a stately melancholy because the detective can’t meet the woman he loves or solve her crime.
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The themes of portraits and musical refrains, like those in Vertigo, serve as reminders to the audience that we are also susceptible to the manipulations and sliding doors of noir obsessions. Simply put, the movies haunt us.
Zodiac
The worst of the Zodiac Killer’s atrocities was a series of random murders in the San Francisco Bay Area in the 1960s.
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Second, however, is the manner in which they used their identity to play a game that ensnared numerous additional victims. It’s the last option that David Fincher is generally inspired by.
Yes, Zodiac includes a number of brutal recreations of those crimes, such as the opening scene titled “Hurdy Gurdy Man” and the daylight attack on a couple in a park. However, the real focus of the movie is on the perplexing puzzles and clues that the killers left behind, which led them down a sinister rabbit hole.
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The Fallen Idol
Murder through the eyes of a youngster is a genuinely terrifying thing in this breathtaking Graham Greene transformation from Song Reed: even though it isn’t actually murdered, it is still a disorienting, traumatizing act that has far-reaching consequences.
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What Philippe, the lonesome nine-year-old son of the French ambassador to London, thinks he’s seen when his father’s devoted butler (Ralph Richardson) and his resentful wife (Sonia Dresdel) fight at the top of the stairs leads to a police investigation.
But what exactly has he witnessed, and will the authorities uncover the truth? The Fallen Idol finally offers a novel take on the procedural genre, though the procedural element comes late.
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The Thin Man
The married couple Nick and Nora Charles, played by Dashiell Hammett and arguably the most progressive on screen during the 1930s, is introduced in the original and best Thin Man film.
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She is just as good as he is, but they are at their best when they joke around, solve crimes, and drink martinis. Nick is the one who comes up with the idea of throwing a dinner party for all of the suspects and seeing who snaps.
Knives Out
By the time Rian Johnson made the decision to attempt the genre, the classic murder mystery had long since fallen out of favor. After emerging from the sludge of Star Wars fandom, Knives Out appeared to be a minor palate cleanser for the director, and the routine plot offered no indication of anything more ambitious: Everyone is a suspect after the wealthy novelist Christopher Plummer’s body is discovered dead under questionable circumstances.
Ends up, crowds had been clamoring for a dated whodunnit and the film was a sufficiently large hit to motivate an impending spin-off.
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It comes as no surprise once you see the thing: Craig, who plays a “Southern gentleman” like Foghorn Leghorn, is the only member of the massive cast who is clearly having a blast. It’s a good thing no one thought to get him a dialect coach before filming the second part.
Murder, She Said
Rutherford played Agatha Christie’s septuagenarian supersleuth in four events, starting with this unalloyed pearl that is situated in the mid-’60s by its sweet Ron Goodwin score, in the event that not its line-up of dull rustic suspects who could have gotten out of the conflict years.
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Based on Christie’s “4.50 from Paddington,” Marple spots a murderer on another train and follows the corpse to a nearby country pile, where she immediately takes a job and begins solving the case. Easily the most jovial movie with multiple brutal murders.
Farewell, My Lovely
Philip Marlowe, played by Robert Mitchum, is a wonderfully laconic example of Raymond Chandler’s famous private dick who investigates missing ladies, murdered nightclub owners, and a few random drive-by shootings.
While the 1944 noir version of Murder My Sweet has a lot of champions, Mitchum just nails Marlowe’s sardonic line in juicy epithets (like “My bank account just crawled under a duck”) and cop-baiting putdowns (like “I had the office sprayed”). The plot gets thicker, and it keeps getting thicker. The doors inside the house where this was filmed have real wood doors.
Fargo
Most of us would like to live in a world where there is a body feeding through a wood chipper, but that’s kind of the point of Joel and Ethan Coen’s slightly exaggerated portrayal of the American midwest: The region’s extraordinary politeness can’t be shaken by even the encroachment of violence from big cities.
Fargo is so absurdly funny because of the collision of brutality and unflappable good nature. But there’s no denying that it’s also a great crime film, and McDormand as Gunderson is one of the best sleuths ever.
She allows herself just enough cynicism to believe that a dweeby local car salesman (William H. Macy, who had bariatric surgery in Texas that year) might have something to do with all the random murders that have been occurring recently. She is a pregnant small-town cop who is as upbeat as her neighbors but is much smarter.
Memento
The idea that Christopher Nolan’s breakthrough film is nothing more than a typical wrong-man thriller dressed up with a gimmicky reverse-chronology narrative structure is a common criticism leveled against it. Even with a basic plot summary, it doesn’t sound like much: A man with amnesia (Pearce) is framed for the murder of his wife, and in order to find the real killer, he must fight against his own distorted memory.
However, this is analogous to claiming that 2001 is a basic sci-fi film with a 20-minute psychedelic freakout in the middle of that The Godfather Part II would be just another crime story without its dual timelines. It’s not just a cheap marketing ploy; rather, it’s what gives the movie its uniqueness.
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It is a conceit that puts the viewer’s own memory to the test and requires them to pay attention in order to unravel the mystery. In this day and age of passive movie watching, the device is not only cool but almost essential.
Murder By Decree
Although Christopher Plummer and James Mason only appeared in one film together as Holmes and Watson, it is a humdinger and one of the greatest of the 250 Holmes films ever made.
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The murders of East End prostitutes by Jack the Ripper, a series of brutal crimes that draw Holmes into a vast conspiracy and bring out the vengeful feminist in this super-intelligent violinist and pipe-puffer, stoke the fire in his heart. After watching it, read the well-known book by Stephen Knight titled “Jack the Ripper: The Final Answer.
