Murder at the Gallop (1963)

Murder at the Gallop (1963)

“A wealthy old gentleman with a weak heart had a pathological horror of cats: what easier than for some interested party to slip a cat into the house, a cat that the old man will come upon unexpectedly? Yes — old Enderby was frightened to death!”

When wealthy Mr. Enderby (Finlay Currie) falls dead from a heart attack, plucky Miss Marple (Margaret Rutherford) suspects foul play, and tries to determine who among his greedy heirs is the murderer.

Genres, Themes, Actors, and Directors:

  • Amateur Sleuths
  • Inheritance
  • Margaret Rutherford Films
  • Murder Mystery
  • Robert Morley Films

British comedic actress Margaret Rutherford is primarily known for two eccentric characterizations: medium Madame Arcati in Noel Coward’s Blithe Spirit (1945) (originally a stage play), and amateur sleuth Miss Marple in George Pollock’s four screen adaptations of Agatha Christie’s novels; of the latter, Murder at the Gallop is the only one listed in Peary’s book, and thus is the only one I’ve seen (so far). While purists have complained that jowly Rutherford doesn’t fit Christie’s description of prim, spinsterish Miss Marple, the inimitable actress brings her own unique charm and energy to the role, and the result is sheer delight: with her otherworldly facial grimaces and her indomitable lust for sleuthing (and snooping), Rutherford carries the film with ease. The mystery itself is well-plotted (I was unable to guess the true culprit), the supporting performances are all fine, and Ron Goodwin’s lilting thematic score provides a welcome touch of humor to the proceedings.

Redeeming Qualities and Moments:

  • Margaret Rutherford as Miss Marple
  • Atmospheric b&w cinematography

Must See?
Yes, simply for Rutherford’s performance — but it’s likely that any of the other three films in the series (Murder She Said, Murder Most Foul, or Murder Ahoy) would suffice as well.


  • Noteworthy Performance(s)


One thought on “Murder at the Gallop (1963)

  1. An absolutely ‘entertaining’ must.

    Rutherford is indeed the main reason for watching. What’s not to love? But that’s not to slight the film itself at all – it is a finely crafted piece which flies by at its economic 81 min., bolstered by nuanced ensemble acting (I esp. like Rutherford’s repartee with Charles Tingwell’s Inspector Craddock) as well as the variations of the “lilting” score, which never fail to remind that we are watching light entertainment – even considering it’s all about murder. (Though there are tense moments, to be sure.)

    This is another title that fits snugly into the ‘the-less-you-know-about-it-the-better’ category; you just don’t want to spoil anyone’s ‘fun’.

    Special mention should be made of James P. Cavanagh’s wonderfully literate screenplay. (In a nice touch, Miss Marple suggests to Inspector Craddock that Agatha Christie is a must-read writer for the police force.)

    If I remember correctly, I’ve seen the four films in this series. I suggest the other three be given a look in consideration as ‘missing titles’.

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