華閱文章網該劇以英國犯罪小說家阿加莎•克里斯蒂于1939年創作的小說為藍本，故事一開始，10位素不相識的陌生人受邀來到英國德文郡沿海附近的一座孤島。
他們抵達后卻發現那位神秘的主人并未出現。
突然，客人們聽到留聲機里傳來奇怪的聲音，控訴他們身背的血債。
接著，“殺人兇手”開始一個一個地被殺害……無人生還。
The plot seems simple, but it’s the darkest and most intense crime thriller you can expect. Trapped on the island by stormy seas, the “murderers” soon discover that their fates have been foretold by a creepy nursery rhyme. In the manor where they’re staying, the 10 jade statues on the dining table start to disappear as the island’s occupants are picked off one at a time.
故事情節似乎很簡單，但它絕對是你能想到氛圍最陰暗、節奏最緊湊的犯罪驚悚片。
“殺人兇手們”被暴風雨困在孤島上，他們很快發現一首令人毛骨悚然的童謠預言了所有人的命運。
在他們入住的別墅里，餐桌上有10個翡翠雕像，島上的客人每死一個，雕像就會消失一個。
It’s natural for the guests to feel anger and despair as they face their ineluctable deaths. Agatha Christie, true to her reputation as the “queen of crime”, vividly depicts their humanity and represents how people react differently under immense stress.
面對無法逃避的死亡，客人們自然會感到憤怒和絕望。
阿加莎•克里斯蒂真是當之無愧的“偵探小說女王”，她用生動的筆觸描繪出了人性，展現了人們在高度緊張狀態下的不同反應。
Among the cast of characters is Vera Claythorne, an anxious, guilt-ridden woman who’s willing to kill the others to survive. Then there’s the ruthless, dissolute Philip Lombard, who seeks to cooperate with the other guests to find the real killer. One of Christie’s virtues is her ability to set the scene swiftly and introduce characters using only a few short sentences, commented Kathryn Harkup, a columnist for The Wall Street Journal.
在眾多角色之中，維拉•克萊索恩是一個焦躁并有犯罪傾向的女人，她為了活命可以殺害別人。
還有冷酷無情，風流成性的菲利普•隆巴德，他試圖與其他客人聯手找到幕后真兇。
克里斯蒂的一大優點就是能快速設置情景，并且只需寥寥幾句話就能引入新的人物，《華爾街日報》專欄作家凱瑟琳•哈卡普評論道。
The source of Christie’s enduring popularity lies in her ample research and planning, according to Harkup. Throughout her prolific career, the late author killed off hundreds of characters by bullets, daggers and poison.
哈卡普認為，克里斯蒂的人氣之所以經久不衰是因為她做了充分的研究和計劃。
在她多產的職業生涯中，這位已故作家塑造了成百上千個被害者角色，作案工具包括使用子彈、匕首和毒藥。
“Christie’s training as a pharmacist gave her invaluable knowledge of poisons and enabled huge variety and flexibility in her plots. No other crime writer has used so many poisons, so often and to such great effect,” Harkup wrote.
哈卡普寫道：“克里斯蒂曾接受過藥劑師培訓，這段經歷教給了她寶貴的毒藥知識，讓她能創作極其豐富和多變的故事情節。
還沒有其他犯罪小說家如此頻繁地使用過這么多毒藥，她的影響是空前的。”
Sarah Phelps, the screenwriter of the BBC’s adaptation, believes that what makes the Christie’s novels timeless is their ability to touch on moral dilemmas. They are more than simple murder mysteries.
該劇編劇莎拉•菲爾普斯認為克里斯蒂的小說之所以成為永恒經典，因為它們涉及到道德兩難的問題。
這些小說遠不止是謀殺疑案那么簡單。
And Then There Were None, for example, makes you think about what it means to take a life, according to Phelps. “At what point does judgment stop being dispassionate and start becoming psychotic? Does anybody really deserve this? There is something else... the most forensic examination of guilt, transgression,” she told The Guardian.
菲爾普斯說，《無人生還》會讓你思考殺一個人意味著什么。
她告訴《衛報》：“從何時起，人們不再冷靜地判斷，而變得歇斯底里？每個人的結局都是他們應得的嗎？一定還有別的隱情……找出真兇最有效的辦法。”
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