Katie Manzer
Knives Out (2019). Dir. Rian Johnson
After the death of renowned mystery author, Agatha Christie, in 1976, it seemed as though the whodunit film genre may have died with her. This genre consists of stories featuring multiple suspects within an enclosed location in which a murder or similarly heinous crime has taken place. Each suspect typically has some connection to the victim and a motive for why they would want the victim harmed. By the end of the story, a detective figure pieces together the events of the murder and reveals the criminal, bringing them to justice. Though films of this nature continued to persist for some years following Christie’s death, the trend quickly fizzled away during the late eighties, as more interest developed around the police procedural story, which focused on the action of investigating and catching a criminal. Today, however, we have seen a steady increase in big-budget, star-studded, ensemble cast whodunits in both film and television, with movies like Rian Johnson’s Knives Out (2019) and Kenneth Branagh’s Hercule Poirot remakes, as well as TV shows like And Then There Were None (2015) and The Afterparty (2021). By looking to the past, we can compare this new era of whodunits to the old, examining what has improved and what has worsened. Finally, we can try to understand the reasoning for this resurgence by looking at the trends in the genre and in Hollywood as a whole.
Murder mysteries are a common staple of our film landscape, but whodunits differ from standard murder mysteries by their structure. A standard murder mystery follows a detective or another puzzle-solver piecing together clues to find a killer. Figures like Sherlock Holmes, Miss Marple, or Columbo would more often fall into this genre of writing - though each have been put into whodunit scenarios throughout their long history. Noir and neo-noir films starring detectives like Philip Marlowe, Sam Spade, and J.J. Gittes would fall into the murder mystery genre as well. Rather, whodunit plots will typically feature a closed circuit of possible suspects, with the first act establishing each important character as well as the crime that has been committed. The second act will follow the detective character conducting interviews and gathering evidence and motives from each suspect, inviting the audience to similarly engage with the investigation. Finally, the third act sees the detective rounding up all the suspects and revealing to them the true murderer, as well as explaining how the crime was committed. Many of the most popular whodunit films are adaptations of books arising around the turn of the 20th century by figures like Arthur Conan Doyle and later - and more prolifically - Agatha Christie. Given their cultural significance, most of these films were produced in Western Europe and England, in particular, recruiting some of the most esteemed stars of their respective eras to join the ensemble casts.
Death on the Nile (1978). Dir. John Guillermin
Regarding the setting and context of these films, many whodunits are centred on the very wealthy, with the most famous stories taking place in mansions, on lavish trips across the world, vacation homes, and other locations which are generally separate from the lives of regular people. In theory, this was done to seclude the cast from society and keep them from getting police involved, ensuring that the mystery unfolds within this small group; in practice, however, this decision resulted in a frequently very homogenous group of suspects. Indeed, many stories at the turn of the 20th century focused on the lives of the upper-class - especially dealing with scandal and debauchery among elites as a form of entertainment for average readers. This class disparity is especially noticeable when one recalls that it was previously impossible for less wealthy people to travel anywhere unless they were accompanying the very wealthy (Rodriguez, 2020). Often the only low-class characters that would appear in these stories were maids, butlers, servants, cooks, nannies, and others who work for the wealthy main characters. Regarding people of colour among these casts, this was extremely rare to see unless they were, again, servants, or else the inhabitants of whatever faraway land to which the cast was travelling. For example, in the original Death on the Nile (1978) there is only one non-white actor with a speaking role and he is not a passenger - he is the manager of the riverboat (unnamed), played by Indian actor I.S. Johar.
Unfortunately, due to the often formulaic nature of whodunit stories, the genre began to lose steam with audiences. After the greatest novels had been dramatized for the screen, viewers grew more accustomed to the format and could more easily sense the structure, pick up on red herrings, and become disenchanted with the extravagance of the casts. Once the genre began to die out, the whodunit was replaced by procedural murder mysteries in the vein of Cop (1988) and The Silence of the Lambs (1991), which follow detective characters (often police detectives rather than private detectives) hunting down a serial killer or psychopath, typically in more urban settings. This change in setting is one of the most distinguishing factors between a murder mystery and a whodunit, with the latter typically requiring remoteness and isolation in order for the puzzle to properly resolve itself among one group of suspects. As well, the more violent and realistic nature of these gritty police procedurals was a draw for audiences, given that most codes of decency had been stripped by the 1970s. As such, the more structured, conservative, and quaint whodunits may have been considered to be old-fashioned or outdated compared to their cutting-edge peers.
Silence of the Lambs (1991). Dir. Jonathan Demme
Though some attempts at a revival of this genre have been undertaken over the decades, the current string of whodunit media that has come out over the past few years has seen considerably more success among general audiences. Through utilizing new technology, changing story focal points, and leaning into tropes, the new voices behind these films are breathing life back into the genre and supplying the next generation with classic stories and new puzzles.
The biggest change that is immediately evident by looking at recent whodunit films and television shows is the increase in original stories. Many of the most famous whodunit movies of the past century have been adaptations of novels and plays written in the late 1800s and early 1900s, with many of these settings remaining consistent through decades of remakes. As such, Kenneth Branagh’s adaptations of Agatha Christie’s classics stick out when compared to their compatriots. Films like Knives Out (2019), Werewolves Within (2021), and Bodies Bodies Bodies (2022), and television shows like The Afterparty and Only Murders in the Building (2021) feature modern, original stories that use the tread upon formula in unique ways. Even the extremely loosely-plotted, Adam Sandler-produced, and aptly lazily-named Murder Mystery (2019) was an original work, finding immense success with audiences as it became Netflix’s biggest opening weekend ever and later earned a place as the fifth most-watched Netflix Original film (Shaw, 2020).
There is also an increased diversity within this new generation of whodunits, with expanded social commentary on current issues and politics. For instance, Knives Out is framed around Marta Cabrera (Ana de Armas), a female immigrant healthcare worker, and her relation to a wealthy white family that views her as “the help”. Throughout the film, it is evident that any love and appreciation the family displays for Marta is conditional, as their affirming words and acts of kindness disappear once she is said to inherit the entire estate of the deceased family patriarch. Many whodunits of the past had people of colour as cast members, but often as background characters in positions of inferiority or subordinate to the wealthy white leads. By bringing the whodunit out of the past, there is more space for non-white leads to play detectives, suspects, or murderers, as we can see through just Sam Richardson being at the helm of both Werewolves Within and The Afterparty.
Another interesting shift that has come from modernizing this genre is the question of how these filmmakers address the internet and cell phones, which render much of the necessary seclusion inherent to the genre useless. In the modern age, we are being monitored constantly, whether through security cameras, cell phone tracking, or other forms of digital footprints; in other words, it is increasingly difficult to commit the perfect crime without leaving some trace that can be tracked through technological means. As well, characters in these stories can use their phones for research, tracking, and sending messages to anyone across the world, thus it becomes more difficult to keep the story contained to just singular character interactions. Some writers will choose to knock down a cellular tower, have phones die at pivotal moments, or have detectives confiscate phones during investigations, while others will use phones as investigative tools in the story, like as recording/listening devices. For example, in Knives Out, the characters discover the existence of the “slayer rule” regarding estate inheritance through Jacob Thrombey (Jaeden Martell) looking it up on his phone, thus thrusting the plot into a new direction.
Similarly, this genre has also been leaning more into comedy, being that it is inherently a very metatextual and self-referential genre within its DNA, as writers often play on existing tropes to continue surprising audiences. Rian Johnson once described the success of the meta whodunit by noting that even Agatha Christie had characters referencing their status as being part of a murder mystery from early on (Olsen, 2019). She even broke a cardinal rule in only her third Poirot novel; in The Murder of Roger Ackroyd, Christie revealed that the narrator of the story was the murderer all along, thus deceiving the audience and shaking them from the established formula that she had popularized herself. Beyond the success of Poirot and Holmes, the whodunit has also seen great strides in the past through parody films like Murder by Death (1976) and Clue (1985), with both films playing to the audience’s expectations of the genre and exaggerating its features to comedic ends. As well, in The Afterparty, each episode revolves around a different character retelling the events of the night according to how they experienced them, with each episode donning a different filmic style (be it action movie, art film, animated film, musical, etc.) for comedic effect. In this way, today’s comedic takes on the whodunit are carrying its self-referential legacy forward.
The Afterparty (2022). Cre. Chris Miller
In Kenneth Branagh’s run of Agatha Christie remakes there is a noticeable shift in tone from their predecessors. The Hercule Poirot films of the 1970s and 80s, as well as the made-for-TV movies that followed, tended to take a decidedly jaunty tone despite their murderous subject matter. These scripts are rife with jokes about Poirot’s moustache, his Belgian identity, and his thick accent, and the writers seemed to constantly poke fun at the excess of the wealthy in these time periods. These casts would be littered with severe and stuffy-looking men and women who dress with resplendence and speak only to those who they deem worthy. In fact, Poirot is frequently depicted as almost bumbling in his approach during this era, seemingly lacking self-awareness and fumbling with evidence - but this is merely a ploy to let potential murderers see him as a non-threatening entity. This is not so in Branagh’s adaptations. The two Poirot films he has helmed so far are decidedly less fun than their predecessors, opting more for a glossy and decadent look paired with a darker tone. Gone are many moments of comedic relief, instead replaced in Death on the Nile (2022) by an overserious, unintentionally funny explanation for why Poirot has a moustache. The detective, existing in a more grounded context, seems far more capable and serious than in the past, thus making it more confusing to have the murderers go through with their plans despite knowing that one of the world’s greatest detectives is among them. This Poirot does, however, still maintain an excellent moustache.
The resurrection of the whodunit did not come out of nowhere - in fact, there was an attempted resuscitation at the turn of the 21st century, as the filmmakers behind movies like 8 Women (2001), Identity (2003), and Gosford Park (2001) sought to breathe life into the genre once more by taking drastically different approaches. 8 Women framed the genre as a queer, musical romp, while Identity was presented as gritty and psychological, and Gosford Park replicated the Christie stories of the past with an increased focus on the class disparity at play. While these filmmakers did commendable work with their subjects, the general populace did not respond very enthusiastically to the idea of a whodunit resurgence - until now, 20 years later. There are numerous factors at play for the resurgence of certain media trends, and this trend seems to have been building for years.
Over the last decade, there has been a steady rise in the popularity of true crime stories, with numerous podcasts, docuseries, and documentary films made about real cases of murder and corruption. In cases of both true crime stories and whodunits, the clues and details of the case are systematically laid out for the audience to take note of, while the inner workings of the detective figure are left mysterious. In this way, both genres invite a structured approach to solving a crime. True crime media often encourages the audience to solve the mystery alongside the creators in a similar manner to that of the whodunit mystery genre. The puzzle-solving investigative element of true crime projects is engaging, but the real-life nature of the crimes may unnerve and alienate some audiences. Perhaps films with similar amounts of puzzle-solving but without the more discomforting elements of true crime are most evident in the whodunit, as it often provides less realism and utilizes a rigid structure through which to tell its stories. In fact, this lust for solving true crime puzzles is the premise for the comedy whodunit Hulu series, Only Murders in the Building.
Another idea to consider is that we have entered a new era of celebrity idolatry. In the 1970s and early 80s when whodunit films were at their peak in popularity, they were assembled with large ensemble casts filled with recognizable stars at the time, which drew in audiences. With our current understanding of the internet and social media, however, there has been a new rise of celebrity culture, akin to the devotion seen during Hollywood’s golden age. Whodunits exist as the perfect opportunity to wrangle as many A and B-list celebrities as possible to fill up an ensemble cast, as - unlike many other ensemble genres like superhero, comedy, and heist films - each character can be drastically different in appearance, intelligence, skill, class, personality, and practically any conceivable character trait. The diversity inherent in the whodunit ensemble makes for casts that can reach across all fandoms, drawing in audiences across the board. For instance, Kenneth Branagh’s Murder on the Orient Express (2017) features actors like Judi Dench, Johnny Depp, Penelope Cruz, Josh Gad, Daisy Ridley, and many others that the average person would not otherwise see together. In comedic takes on this genre, while casts are not as A-list-star-studded as Branagh’s, the ensembles are made up of comedic heavy hitters over which any comedy nerd would swoon (see: The Afterparty).
Clue (1985). Dir. Jonathan Lynn
The final aspect of this genre’s resurgence to consider is the fact that the structure of the whodunit may be another draw for audiences, as we may be seeking out more satisfying and cohesive stories as a response to the chaos of today’s world. For many, these intelligently written and rewarding films have become a comfort during the pandemic, where much of the world has been in flux and many corrupt figures are not brought to justice. Films like Knives Out and Murder Mystery have thrived on streaming platforms throughout the pandemic and are each being provided sequels (even sagas) by Netflix. Knives Out, for example, has been lauded for not only being escapist fun with provocative twists, but also for shining a light on real world injustices that provide both narrative and moral satisfaction. This is in some contrast to the whodunits of old, which were most commonly period pieces set in a bygone era, making few statements regarding the sociopolitical climate of the time. However self-indulgent Branagh’s remakes seem, both films further explore the social inequities at play among the ensemble of characters than in the past, with the second film in particular touching on the anti-black racism of the 1930s.
One can see how expansive the world of the whodunit can be and the potential reasons that it has seen so much success in recent years. It is a genre rife with opportunity and was in desperate need of a large-scale comeback due to its alluring format, elaborate casts, and opulent production design. While the genre never truly died - standalone stragglers like those in the early 2000s made honest attempts at relevancy - what was needed for the whodunit to thrive was structure. The same structure that caused the genre to fade is what brought it back to life, though in different ways. By following the prior success of adapting major works like those by Agatha Christie, a door was opened for the mainstream advancement of original stories to expand upon the formulas we know so well. Allowing for phones and the internet introduces new obstacles for characters to overcome through their intellect. Exploring important topics relevant to the characters in the story regarding class, race, gender, and many other political issues provides a grounding effect on the story and adds depth. Extending the format into a season-arc television show lets the audience get to know characters more intricately than one could ever experience in a film. Playing on the audience’s expectations of the genre leads to twists previously unthought of. In all, there are so many new paths for the whodunit format to take and so far it seems to be going in the right direction.
Citations
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Rodríguez, Carmen Périz. “Travelling for Pleasure: A Brief History of Tourism.” Europeana, 16
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Rutigliano, Olivia. “On the Afterparty and The Rise of the ‘Millennial Whodunnit.’”
CrimeReads, 10 Mar. 2022, https://crimereads.com/afterparty-millenial-whodunnit/.
Shaw, Lucas. “These Are Netflix’s 10 Most Popular Original Movies.” Bloomberg, 15 July 2020,
https://www.bloomberg.com/news/articles/2020-07-15/netflix-most-popular-original-
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Vasquez, Zach. “Is the Whodunit Mystery Poised for a Big Screen Renaissance?” CrimeReads,
19 Sept. 2019, https://crimereads.com/is-the-whodunit-mystery-poised-for-a-big-screen-
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