What are the differences between Agatha Christie's novel and the film?

On April 13, 2005, Pascal Thomas arrived in French cinemas with My little finger told me. A special film for the director, being nothing less than an adaptation of a novel by Agatha Christie! The queen of crime, whose spirit has infused a feature film carried by a particularly strong cast. Judge for yourself, here we come across André Dussollier, Catherine Frot, Geneviève Bujold, Laurent Terzieff, Valérie Kaprisky and even Pierre Lescure. A distribution which also saw the original work being somewhat modified…

My little finger told me : Giant Cluedo in retirement home

A resolutely bourgeois couple, Prudence and Bélisaire Beresford don't really seem to have any problems in life. However, one day, everything will change… It will play out in a retirement home, the one that houses Ada, a very elderly aunt of Bélisaire. This is where they will come up against the strange ways of a certain Rose Evangelista, a resident of the establishment… After the death of aunt Ada, our duo will then return to the place and notice that Rose, too, is absent. What if several murders had taken place in this rest home with a peaceful reputation? Our duo will do everything to find out!

My little finger told me : Agatha Christie without the British spirit?

At first glance quite close to Agatha Christie's novel, Pascal Thomas' film nevertheless contrasts with the pages of My little finger told me. As we could see in the press kit for his feature film, the director chose to cut himself away from the very “English” from the book: “We had to stay in the spirit of the climates specific to Agatha Christie, without falling into the 'anglicizing' reverie. Tuppence and Tommy Beresford are renamed Prudence and Bélisaire, they are not dressed by English tailors, but by an Italian, Cifonelli , and don't drink tea.” In addition, the filming locations between Lac du Bourget and Aix-les-Bains accentuated this difference, as did the work of the cinematographer and the set designer: “The excellent lighting by Renan Pollès strives, through subtle work between shadow and low light, to create different atmospheres without ever approaching the softness of English light. The sets, created with Katia Wyszkop, have a baroque richness and balance that is more Italian than Anglo-Saxon.”