看完最感慨的地方是，偉大傳奇的作家也不一定要像刻板印象里一樣，有一些神經(jīng)敏感酗酒的文人毛病，最后潦倒死去——她也一樣可以有美滿的婚姻、家庭、名利雙收、最后平靜地離開(kāi)，甚至第一個(gè)婚姻的失敗、使其飽受非議的失蹤案這樣的曲折都只增添了偵探小說(shuō)家人生的戲劇性元素；而她的女性身份、護(hù)士藥劑師身份、考古愛(ài)好者身份、獨(dú)身女性旅行者、暢銷書(shū)身份，在各個(gè)領(lǐng)域都可以算作開(kāi)拓者，沒(méi)有比這更圓滿刺激又有價(jià)值的一生了。

印象深刻的新知識(shí)點(diǎn)，是她的失蹤失憶案并沒(méi)有一直以來(lái)傳得那么撲朔迷離，她本人和相關(guān)人士早就多次澄清過(guò)是因?yàn)樾睦聿“Y導(dǎo)致的失憶，結(jié)果沒(méi)有人相信，只指責(zé)這是個(gè)拙劣的騙局，只因?yàn)闆](méi)有滿足這些看客想要的戲劇性效果。神游癥是a flight into health，可憐當(dāng)時(shí)她并沒(méi)有得到真正的庇護(hù)所，好在最終最終的結(jié)果是好的。

特別喜歡片中提到失憶的Agatha在療養(yǎng)酒店中看到自己本人失蹤案的新聞報(bào)道，推理出這個(gè)人肯定做了傻事已經(jīng)無(wú)力回天（這個(gè)情節(jié)可太偵探小說(shuō)了哈哈），這未嘗不是在說(shuō)，舊的Agatha已經(jīng)脫離了自己并且死去，以后是鈕祜祿·阿加莎了。想起神秘博士那集改編，消失的阿加莎只是又經(jīng)歷了一場(chǎng)奇藝的冒險(xiǎn)，以后她的人生只會(huì)更精彩，而那些背叛者的名字早就消失在歷史長(zhǎng)河中了。

很流暢的紀(jì)錄片，就是主觀表達(dá)有時(shí)候有點(diǎn)多，有些探索研究有點(diǎn)武斷，比如阿加莎的醫(yī)師具體是誰(shuí)，不過(guò)瑕不掩瑜。

【Cat Among the Pigeons】

She knew she was actually an extraordinary, modern woman whose career was steaming forward but she also sensed society wasn't ready for a woman like her yet, So Agatha would hide her brilliance in plain sight.

She'd used the upheaval of the First world War to her advantage and at this moment she buys the house under her own name during the marriage. We get a glimpse of an Agatha we don't often see, a woman in control of her destiny, a woman unapologetically herself.

【Destination Unknown】

It's fascinating to see Agatha fighting to keep Poirot under her control(away from love story). Made wiser by recent troubles(bereavement, cheated, divorce, lawsuit, press pressure, public censure, insomnia, amnesia, psychotherapy…), emboldened by her independent travel, she was beginning to find the confidence to stand up for herself and her writing.

Miss Marple first appeared as a character in a short story of 1927, The Tuesday Night Club, before emerging as a detective in her own right in 1930's, The Murder at the Vicarage. Now you might think that Miss Marple is a sort of cuddly, tea-drinking old lady. She's actually an independent and quite subversive woman. And she works through feminine intuition. This is how she defines it, ‘’Intuition is like reading a word without having to spell it out. A child can't do that cos a child has little experience. But a grown-up person knows the word because they've seen it often before.’’ She's really talking about life experience. As she says here, ‘’My hobby is and always has been, Human Nature.’’ Now I think it was Agatha's own life experience, this sense that she'd been through trouble and come out stronger, that she was entering into her power, that allowed her to create the rule-breaking Miss Marple. Agatha found a way of combining her new confidence and independence, with the psychological insights from her illness to create the perfect detective. She's one of the great unsung heroes of literature, and one the great women of literature not just crime but everything because she is utterly herself. She's uncompromising but she's gentle and clever. How many other women are the hero of their story at the age of 65, but without it being because they’re somebody's mother. Miss Marple embodied the new Agatha of the late 1920s, determined not to be at anyone's mercy, completely in control of her craft.

Agatha had gone from desperate fugitive to this confident, powerful, independent woman. In a really horrible way I think that the traumatic 1920s had made her stronger. They'd certainly made her into a household name. And I also think, the trouble she'd had made her work better. It made it richer, and darker, and more psychologically interesting. She was ready for a fresh chapter.

【Unfinished Portrait】

Now some people would say that this kind of offensive title is, typical of her class and time, but that's not a get-out-of jail-free card.

Agatha Christie is a woman coming out of that colonial background, she's well read, well educated and she's coming out of a fairly elite class and she's not writing to change the narrative, she's writing so that she's ready for that white audience, that white European, white American audience, and, she is, picking up where they are and not advancing that discussion.——Which is why as a historian I think we have to look at this stuff and appreciate that it was there and to understand how potent it was.——Exactly, we need to understand it in context, knowing that Agatha Christie was not alone in terms of what she was doing. Writers in the United States and elsewhere, here in England, you know everyone was writing in this vein and using this kind of language.（There should be no room for racism.）

She's a good writer, there are some things that aren't acceptable that she wrote. Because if I rule her out I would be ruling out a lot of other writers during that period, there are things you can learn from reading those writers. It is complicated. We can't just, put people into these boxes of good and bad.

Agatha's creation, Miss Marple, the shrewd and observant old lady detective, appears in 12 novels, most of them from the post war years. Now I think the very best Poirot novels are from the twenties and the thirties when Agatha was young. In nineteen-fifty she turned sixty, and from then on she and Miss Marple would get older at the same pace, they'd go through life together, almost as if Christie and Marple were the very same person. Agatha inhabited Miss Marple inside and out. She was so immersed in Marple's stories, that she grabbed anyone she could to help perfect their brilliant plots, including getting her neighbours to act them out.

‘’Goodbye cher amie. They were good days.’’

‘’Sometimes, but not so very often, two people find real love together as we do. We know that what we have cannot perish. For me, you will remain beautiful and precious with the passing of years.’’