See How They Run, Tom George’s tongue-in-cheek murder mystery, is riding high on the genre’s new wave. Its director and stars discuss the rich history of the format – and why it always returns in trying times
, a marriage of And Then There Were None and the twentysomething slasher flick. So, See How They Run is not alone; the film is part of an ensemble.
Mark Chappell’s script for See How They Run hinges on a real-life clause in The Mousetrap’s contract that stipulates that a film version can’t be made until the stage play has completed its initial run. The joke here, of course, is that The Mousetrap has never stopped running. It opened at the Ambassadors theatre in 1952, transferred to the St Martin’s next door in 1974 and has been a West End fixture ever since, the greasepaint equivalent of the ravens in the Tower.
Ronan has first-hand experience of long runs, too. The Irish actor was in a Broadway production of The Crucible that played for five months; heaped helpings of anguish and darkness, night after night. By the end, she reckons, she was nearly fit to kill. Over the course of the genre’s history, every solution has been tried; there are no fresh angles left. The butler did it. The narrator did it. Everyone did it. No one did it. We require that the murder be explained, because those are the rules and an audience demands closure. But it is a box-ticking exercise, a contractual obligation. Any aficionado will tell you that the least interesting aspect of a whodunnit is who done it.
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