A man stirs from unconsciousness, sprawled on the floor of his hotel room, as he hears the police banging against the door. Coming to, he finds his mistress lying dead in the bathroom, she has been bludgeoned to death. Calling out to the police for help they break down the door and storm in. The problem? All the doors and windows are locked from the inside, the door was watched, and there is no one else in the room. The man is arrested as the only suspect, now about to stand trial for murder.
This delicious problem is presented in the brand new Spanish impossible crime thriller The Invisible Guest by Oriol Paulo. The Spanish title is ‘Contratiempo‘, the literal English translation of which is ‘Against Time’, which I think would in some ways have been a better name, and I’ll explain why. The film opens with Adrián Doria, a hugely successful young business man, receiving a late night call at his apartment where he is now under house arrest for the murder. Doria’s high powered lawyer has employed the services of Virginia Goodman, a prestigious defence attorney who has never lost a case. Goodman comes with the news that a witness with a new piece of evidence has emerged for the prosecution. The judge has called for the witness to testify that same night, which means that Doria and Goodman have only three hours in which to figure out how the crime was committed and compose a solid defence, or he goes to prison for murder. She starts a stop watch and places it one the desk, the untangling begins.
A great hook right? The locked room angle and the ticking clock have you on the edge of your seat from the off. Goodman asks Doria to explain the events from the start as they happened, which gives us a very natural piece of exposition to bring us into the crime and it’s surrounding story. The film develops into a cleverly layered set of extremely twisty plots that build into a number of big crescendos. A lot of the ‘detection’ is done by Goodman as she tries to unpick the motives, and double cross purposes of all involved. She tests and pushes Doria to his limit to draw out every angle on the case possible, and the detection is focussed as much on intuition and feeling – “What does this puzzle say to you?”- as much as does on ratiocination and the deconstruction of evidence.
There are a couple of absolutely killer scenes, and there is one plot point in particular -when one victim’s phone rings… I won’t say anything more – which is heart in throat stuff. The cast is also sparse, which works both for atmosphere and plotting. The cinematography is beautifully moody, with a gorgeous blue and green hue haunting the whole film, across a very limited number of locations. I had heard about this film over at the Golden Age Detection group on Facebook, but didn’t think we would get an English release. So I was chuffed when my wonderful sister told me that it was now on Netflix! I urge my readers to give it a go.
However, I do have a number of criticisms about this film, and that brings me to the title of this post. The Invisible Guest seems to suffer from the problem of trying to do to many things at once, therefore watering down each aspect in turn.
The hook of the three hour time limit, which kicks us off with a bang, is not really used as the plot moves forward. We now and again get a shot of the stop watch, but otherwise the tension is not capitalised upon, which limits the urgency of solving the crime. Therefore, what could have been a brilliantly claustrophobic dialogue between Doria and Goodman across the apartment table, ends up falling a little flat.
The same then goes for the locked room problem. Because Paulo has tried to create a surprise twist by twist plot, the complexity of the locked room starts to get consumed, and the intellectual focus of the impossible crime that opens the film gets lost. This is then apparent in the solution to the locked room itself. When I got to the end, I watched the set up back a number of times just to make sure, but I honestly don’t think it is fairly clewed (would really appreciate your thoughts on that readers), which is a shame because there is some really solid clewing elsewhere. And in the context of what has been set up I’m not sure the solution would be full proof and actually possible. Carr used a very similar solution idea in one of his short stories, but did it better because it was really believable in how it occurred.
And as for the twists, there were so many that they start to loose force, and therefore I could see the final revelation coming a mile off. This meant that what could have been a powerful tying together of threads lost it’s punch because of predictability.
What I will say in it’s defence is that the motive for the twists and the locked room are solid, if a little outlandish, which is not an easy thing to get right. Therefore it makes me all the more sad that these elements are crowded out by the film trying to be too clever for it’s own good.
So after all that, my question is, can a locked room and a thriller style plot really mix? Does the speed and twisty nature of modern thriller writing work alongside the slow and methodical nature of a locked room problem, or will they always be bumping heads?
I guess a simple answer would be yes, of course they can, as pretty much anything can happen with good writing. There are many stories yet to be penned, so there is nothing stopping it happening. If we look at books like Till Death Do us Part and She Died a Lady by Carr, they are mind blowing in their pace, and shocking plot turns with impossible problems being the absolute centre of the plot. But then in my opinion these books are more thrilling than thriller if that makes sense? So, is it that the elements needed to create a modern thriller are just too different for the elements needed to create a brilliant locked room puzzle? I guess the bigger question is what is the authorial context that makes a thriller work the best and the same for a locked room story? Let me know your thoughts.
Do give The Invisible Guest a go, there is so much to like, and I really enjoyed seeing a screen writer deal with a modern locked room problem. If you loved it and the locked room solution let me know, I’m ready to be wrong! You can watch the trailer here to get in the mood: