Challenging mixture of elements

Press, 30 January 1984, Page 4

Challenging mixture of elements

Wcinemcr

hans petrovic

DEATHTRAP Directed by SIDNEY LUMET Based on a stage plav by IRA LEVIN If it’s thrills and laughter you’re after, don’t miss “Deathtrap” (Midcity). One of the biggest challenges for a playwright would be to combine mystery and suspense with comedy — and make it work — for the moment the audience is distracted by laughter, it could so easily lose its engrossment in the tense and complex plot, Agatha Christie managed to inject the lighter element into her intricate stories with the help of a slightly eccentric detective, like Monsieur Poirot or Mrs Marple. But then again, her stories were never intended to be funny, nor were they written for the stage — except the highly-successful “The Mousetrap” which became the longest-running play ever in London. So, it may be more than coincidence that another “trap,” Ira Levin’s “Deathtrap,” became the longest

running mystery in the history of Broadway. The only other highly succesful mystery stage play that comes to mind is “Sleuth,” which was made into a fine movie with Laurence Olivier and Michael Caine. In many ways, “Deathtrap,” is very reminiscent of Anthony Shaffer’s “Sleuth,” in which the two (only) protagonists were playing out a number of deadly games on each other. “Deathtrap,” features four leading actors most of whom manage to get knocked off but, as in “Sleuth,” it would be unfair to reveal who, in what order — and why. Suffice it to say that

Caine plays a playwright with a problem. A master of the mystery genre, his latest whodunit has been hooted off the stage by an angry first-night audience. In the words of one critic, there was more drama in the fight for taxis outside the theatre than there was on the stage. Caine is almost out of options. Only a new smash hit can salvage his reputation and his pride. Enter Christopher (“Superman”) Reeve, formerly a student at one of Caine’s college seminars. Reeve has written a first play — a very good mystery — and the only person who has read it is Caine, who cheerfully admits that he would kill for a hit. That’s all I can tell you, except that “Deathtrap” also features Dyan Cannon in a fine, stage-style overacted performance as Caine’s wife; and Irene Worth, as a Dutch psychic with a crazy accent thick enough to cut with a mace, who always manages to turn up before the next murder. Miss Woiih, somewhat reminiscent of Imo-

gene Coca, is particularly hilarious. Levin, writing as a playwright about playwrights, manages to include many “in” jokes of the trade, which add to the film’s humour, and Levin makes it no secret that there are probably a few playwrights whom he would gladly dispose of. Levin also manages to include just about every murder cliche in the book, such as setting the plot in an old, converted windmill, and having the climactic murder to take place during a stroboscopic thunderstorm. Such teasers as E.S.P. and homosexuality are also written in for good effect. Sidney Lumet, the master director of such dramas as “Dog Day Afternoon” and “Prince of the City,” turns to comedy for a change and adds his distinctive touch of integrity and craftsmanship. Johnny Mandel’s overdramatic harpsichord music also sets the mood very well. Jay Presson Allen, who adapted Levin’s play for the screen, has managed to in-

elude the line about Broadway’s longest-running mystery play in the film while referring to the play that Caine is working on. The film deserves an equally long run.