Matthew Rhys’s Frown Lights Up Towards Zero

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How does one modernize an Agatha Christie story? Kenneth Branagh’s Poirot sports a more flamboyant mustache, while Rian Johnson uses his Christie parody to take jabs at the wealthy and powerful reminiscent of Trump. Now, in the updated adaptation of “Agatha Christie’s Towards Zero,” Matthew Rhys, known for his perpetual scowl, adds an unexpected twist that breaks its traditional, formal appearance. Remember how Rhys, as Philip Jennings on “The Americans,” frequently scolded Paige for disrespecting her parents? Or lost his cool with dishonest witnesses on the short-lived “Perry Mason”? That’s the same attitude Rhys brings to his role as Inspector Leach in “Towards Zero,” and he demonstrates remarkable charisma by portraying a hangover-drained exhaustion and annoyed disdain.

The American debut of the BBC adaptation of Agatha Christie’s 1944 novel “Towards Zero,” airing on Britbox from April 16 to 18, follows the classic Agatha Christie mystery formula. For readers of the book who seek accuracy, be advised that there are substantial differences in this version. The story unfolds at Gull’s Point, a coastal estate in 1936, owned by Lady Tressilian (Anjelica Huston) and her nephew, tennis star Nevile Strange (Oliver Jackson-Cohen). The village of Saltcreek is secluded, with treacherous waters filled with riptides and mysterious undercurrents. Years prior, Lady Tressilian witnessed her husband’s ship sink from her window and has been confined to her bedroom ever since. Her excitement over Nevile’s visit turns sour when she learns that he plans to bring both his new wife, Kay Elliot (Mimi Keene), and his recently divorced first wife, Audrey (Ella Lily Hyland), to Gull’s Point. The Stranges’ marital turmoil was a tabloid sensation, and Lady Tressilian is appalled by Nevile introducing such scandal into her home. Unbeknownst to her, another guest is on their way to the mansion as well. Thomas Royde (Jack Farthing), an old friend of Nevile’s, bears a grudge against the family and has been corresponding secretly with Lady Tressilian’s companion Mary (Anjana Vasan) for months. When they all gather at Gull’s Point and deaths begin to occur, nearly everyone seems to have a reason for violence. Left to uncover the truth are Lady Tressilian’s lawyer, Mr. Treves (Clarke Peters); his teenage ward, Sylvia (Grace Doherty), who is both observant and inquisitive; and local Inspector Leach (Rhys).

In this production, every actor delivers as anticipated, resulting in an unremarkable yet formulaic interpretation that leans heavily on furtive glances to generate tension among the diverse characters. Peters lends solemnity and Huston disdain to Rachel Bennette’s polished dialogue. Jackson-Cohen, Keene, and Hyland exude elegance in their ’30s wardrobe as director Sam Yates focuses on their enigmatic expressions. Remarkably, Towards Zero seems to imitate The White Lotus with its frequent use of aerial shots depicting turbulent waters to symbolize peril. Consequently, the miniseries is comfortingly easy to consume, but it can feel somewhat stale until Rhys makes his entrance at Gull’s Point, draped in a trench coat and slouched with an insolent demeanor, his acting serving as a bolt of vitality.

In Christie’s original novel “Towards Zero,” Inspector Leach finds himself struggling at Gull’s Point and seeks guidance from his seasoned uncle, Superintendent Battle, on the case. However, in the miniseries, Leach is given more autonomy, as the storyline trusts Rhys to carry forward the action in episodes two and three. In the novel, Leach is not inexperienced but rather stuck, dealing with both the psychological toll of World War I and the monotony of investigating repetitive crimes in a small village. His interactions with the aristocratic Lady Tressilian, who orders him to shut down a popular hotel she calls “Gomorrah,” highlight his frustration. The series is injected with excitement when a string of murders occurs at Gull’s Point and the killer manages to evade Leach’s detection, awakening the inspector from his boredom. Rhys skillfully portrays Leach’s contempt for the suspects, which adds drama to the storyline and enhances the overall series.

As a devoted admirer, I can’t help but chuckle at the amusing antics of Leach in “Towards Zero.” His eyes seem on the verge of popping out as Lady Tressilian laments about the modern era, his gaze narrowing as Nevile courts Audrey and overlooks Kay, and his glare intensifying when Kay cozies up to another man. Everyone around seems so courteous, but Leach can’t stomach all the false politeness. When Mr. Treves delivers a pompous speech about every murder starting with a “point zero,” Leach’s response is a sly, “We call that motive,” as if it’s part of his job to keep Mr. Treves in check. If Rhys can add a sneer to a line and disrupt the show’s formal tone by portraying a character who doesn’t care about appearances, he will, and the most delightful aspect of “Towards Zero” is witnessing Rhys’ exuberant performance. He injects lines with deliberate pauses, such as “There’s no law against… pleasure,” he downs drinks and shouts “Damn!” before lighting a cigarette, he even uses tennis to vent his frustration by hitting a ball against a wall. Despite Leach’s lack of grace, in “Towards Zero,” Rhys knows exactly what he’s doing.

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2025-04-16 19:57