“Adapting AGATHA CHRISTIE”

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“ADAPTING AGATHA CHRISTIE”

Ever since the release of the BBC recent adaptation of Agatha Christie’s 1939 novel, “And Then There Were None”, television viewers and critics have been praising the production for being a faithful adaptation. In fact these critics and fans have been in such rapture over the production that some of them have failed to noticed that the three-part miniseries was not completely faithful. As long as the production followed Christie’s original ending, they were satisfied.

Mind you, I thought this new production, “AND THEN THERE WERE NONE” was top notch, I have found myself growing somewhat annoyed over this attitude. Why do so many people insist that a movie/television production should be faithful to the novel it is adapting? I honestly believe that it should not matter. Not really. I believe that sometimes, it’s a good thing to make some changes from the original novel (or play). Sometimes, it’s good to remain faithful to the source novel. Sometimes, what is in a novel does not translate well to the television or movie screen.

A good example are the two adaptations of Christie’s 1941 novel, “Evil Under the Sun”. The 1982 adaptation, which starred Peter Ustinov as Hercule Poirot, made some major changes in regard to characters and a minor subplot. The 2001 television adaptation, which starred David Suchet, was somewhat more faithful . . . but not completely. In my personal view, I believe that the Ustinov version was a lot better . . . more entertaining. Why? If I have to be brutally honest, I am not a big fan of Christie’s 1941 novel. No matter how many times I tried to like it (and I tried), it simply bored me.

In regard to the adaptations of “And Then There Were None”, there are only two adaptations that I really enjoyed – Rene Clair’s 1945 adaptation and this new version. The 1945 film is actually an adaptation of the 1943 stage play written by Christie. Because the play first opened in the middle of World War II, Christie had decided to change the ending in order to spare wartime theater goers the story’s nihilistic ending. Two years later, director Rene Clair and 20th Century Fox decided to adapt Christie’s stage play, instead of the novel. Several other movie adaptations – including the 1996 and the 1974 – did the same. As far as I know, only the Russian 1987 adaptation followed Christie’s original ending.

And how do I care about these numerous adaptations? I have seen both the 1966 and 1974 movies. I am not a fan of either. Personally, I found them rather cheap. I have never seen the 1987 Russian film. As for the 1945 and 2015 versions . . . I am a big fan of both. That’s right . . . both of them. I do not care that 2015 miniseries stuck to Christie’s original novel, despite some changes, and Clair’s 1945 movie did not. I simply happen to enjoy BOTH versions. Why? Both versions were made with skill and style. And I found both versions fascinating, despite the fact that they have different endings.

I do not believe it should matter that a movie or television ALWAYS adhere to the novel it is adapting. What should matter is whether the director, writer or both are wise enough to realize whether it is a good idea to be completely faithful or to make changes . . . for the sake of the production. If producer John Bradbourne and director Guy Hamilton can make a superior adaptation of “Evil Under the Sun” by utilizing major changes to Christie’s original story and if there can be two outstanding versions of “AND THEN THERE WERE NONE” . . . with different endings, I really do not see the need for any film or television production to blindly adhere to every aspect of a novel it is adapting.

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“PERIL AT END HOUSE” (1990) Review

“PERIL AT END HOUSE” (1990) Review

I just realized something. I have never read Agatha Christie’s 1932 novel, “Peril at End House”. I find this ironic, considering that I have seen the 1990 television movie adaptation of this novel at least three or four times. One of these days, I will get around to reading Christie’s novel and comparing it to the television adaptation. Right now, I am going to focus on the latter.

Directed by Renny Rye and adapted by Clive Exton, “PERIL AT END HOUSE” is the first full-length television movie aired on“AGATHA CHRISTIE’S POIROT”. It is also about Belgian-born detective Hercule Poirot’s efforts to prevent the murder of a young socialite, during his vacation in Cornwall. The movie begins with Poirot and his friend Arthur Hastings arriving at a Cornish seaside resort for their vacation. While conversing with socialite Magdala “Nick” Buckley on the resort’s grounds, Poirot notices that someone had fired a bullet into the brim of her floppy hat. Poirot exposes the bullet hole to Nick, who finds it difficult to believe that someone wants to kill her. She points out that aside from her house – End House – has no real assets. Poirot decides to investigate her inner circle, who includes the following:

*Charles Vyse – Nick’s cousin and an attorney
*Mr. and Mrs. Croft – an Australian couple that has leased the lodge near End House, who had suggested Nick make a will six months earlier
*Freddie Rice – a close friend of Nick’s, who is also an abused wife
*Jim Lazarus – an art dealer in love with Nick
*Commander George Challenger – a Royal Navy officer who is also attracted to Nick

Poirot eventually advises Nick to invite a relative to stay with her for a few weeks. Nick invites her distant cousin Maggie Buckley. Unfortunately, someone kills Maggie, after she makes the mistake of wearing Nick’s dress shawl during an evening party. Even worse, the killer eventually achieves his/her goal by sending a box of poisoned chocolates to Nick, while she was recuperating at a local hospital.

“PERIL AT END HOUSE” possessed a certain plot device that Christie had used in several of her novels. I would describe this plot device. But to do so would spoil the rest of the story. It took me years to spot this plot device. And I should be surprised that I have not come across anyone else who has spotted it. And yet . . . I am not. The fact that it took me several years to spot this particular plot device only tells me that Christie has utilized it with great effect in some of her more interesting and well-written mysteries. Thankfully, “PERIL AT END HOUSE” proved to be one of those well-written mysteries.

I must admit that Clive Exton did a pretty damn good job in adapting Christie’s novel for the television screen. He stuck very closely to the original novel’s plot . . . with a few changes that did no harm to the overall movie. Both Exton and Rye presented a well-paced production to the audiences. They set up the story with Poirot and Hastings’ arrival to Cornwall and continued on with without any haste or dragging feet. The only time the movie threatened to put me to sleep occurred between the story’s second murder and the revelation of the killer . . . . when the story threatened to ground to a halt. I have one last problem – namely the appearance of Chief Inspector Japp. I realize that Japp did appear in the novel. But his appearance merely dealt with Poirot’s request that he investigate the Crofts, whom the Belgian detective suspected of being forgers. The cinematic Japp immediately appeared following Maggie Buckley’s death as the main police investigator. And Cornwall is not under Scotland Yard’s main jurisdiction.

The production values for “PERIL AT END HOUSE” proved to be top-notch. Rye shot the film’s exterior scenes in Salcombe, Devon; instead of the county of Cornwall. I found that curious. However, both he and cinematographer Peter Bartlett certainly took advantage of the movie’s setting with Bartlett’s photography of Salcombe’s charming, Old World style. This was especially apparent in the movie’s opening sequence that featured Poirot and Hasting’s arrival by airplane. Actually, production designer Mike Oxley did an excellent job of recreating an English vacation resort in the early 1930s. The production practically reeked of the Art Deco style of that time period. However, I was especially impressed by Linda Mattock’s costume designs. I was especially impressed by those costumes worn by actresses Polly Walker, Pauline Moran and Alison Sterling. My only complaints about the movie’s visual styles were the actresses’ hairstyles. No one seemed capable of re-creating the early 1930s soft bob. The actresses either wore a chignon or in the case of Sterling, a Dutch Boy bob made famous by actress Louise Brooks in the late 1920s.

“PERIL AT END HOUSE” featured some solid performances by the cast. David Suchet gave his usual excellent portrayal of Hercule Poirot. I was especially impressed by the on-screen chemistry he managed to produce with Polly Walker. The latter gave a standout performance as the killer’s main target, Madgala “Nick” Buckley. Walker did an excellent job of transforming Nick from the charming “Bright Young Thing” to a wary and frightened woman, who realizes that someone is trying to kill her. Alison Sterling was also excellent as one of Nick’s closest friends, “Freddie” Rice. Next to Walker’s Nick, Sterling gave an interesting and skillful portrayal of the very complex Freddie. Hugh Fraser, Pauline Moran and Philip Jackson were also excellent as Arthur Hastings, Miss Lemon and Chief Inspector Japp. All three, along with Suchet, managed to re-create their usual magic. The movie also featured solid performances from Paul Geoffrey (whom I found particularly convincing as an early 30s social animal), John Harding, Christopher Baines and Elizabeth Downes. I found the Australian accents utilized by Jeremy Young and Carol Macready, who portrayed the Crofts, rather wince inducing. But since their accents were supposed to be fake in the first place, I guess I had no problems.

For some reason, “PERIL AT END HOUSE” has never become a big favorite of mine. It is a well done adaptation of Christie’s novel. And I found it visually attractive, thanks to the movie’s production team. The movie also featured some excellent performances – especially from David Suchet, Polly Walker and Alison Sterling. Naturally, it is not perfect. But that is not the problem. I cannot explain my lack of enthusiasm for “PERIL AT END HOUSE”. I can only assume that I found nothing particularly mind blowing or fascinating about its plot. It is simply a good, solid murder mystery that has managed to entertain me on a few occasions. Perhaps . . . that is enough.

Ranking of “AGATHA CHRISTIE’S POIROT” Movies

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With one more season of “AGATHA CHRISTIE’S POIROT” left with David Suchet as the famous literary Belgian detective, I thought it would be nice to rank some of the series’ feature-length movies that aired between 1989 and 2010. I have divided this ranking into two lists – my top five favorite movies and my five least favorite movies: 

RANKING OF “AGATHA CHRISTIE’S POIROT” MOVIES

Top Five Favorite Movies

1-Five Little Pigs

1. “Five Little Pigs” (2003) – In this beautifully poignant tale, Hercule Poirot investigates a fourteen year-old murder in which his client’s mother was erroneously convicted and hanged for.

2-After the Funeral

2. “After the Funeral” (2006) – When a relative of a deceased man questions the nature of his death at a family funeral, she is violently murdered the following day and the family’s solicitor requests Poirot’s help. Better than the novel, the movie has a surprising twist.

3-The ABC Murders

3. “The A.B.C. Murders” (1992) – In this first-rate adaptation of one of Christie’s most original tales, Poirot receives clues and taunting letters from a serial killer who appears to choose his random victims and crime scenes alphabetically.

4-Murder on the Links

4. “Murder on the Links” (1996) – While vacationing in Deauville with his friend, Arthur Hastings, Poirot is approached by a businessman, who claims that someone from the past has been sending him threatening letters. One of my favorites.

5-Sad Cypress

5. “Sad Cypress” (2003) – Poirot is asked to investigate two murders for which a young woman has been convicted in the emotional and satisfying tale.

Top Five Least Favorite Movies

1-Taken at the Flood

1. “Taken at the Flood” (2006) – In this rather unpleasant tale, Poirot is recruited by an upper-class family to investigate the young widow of their late and very rich relative, who has left his money solely to her.

2-The Hollow

2. “The Hollow” (2004) – A favorite with many Christie fans, but not with me, this tale features Poirot’s investigation into the murder of a successful doctor at a country house weekend party.

3-Appointment With Death

3. “Appointment With Death” (2008) – In this sloppy adaptation of one of Christie’s novel, Poirot investigates the death of a wealthy American widow, during his vacation in the Middle East.

4-Hickory Dickory Dock

4. “Hickory Dickory Dock” (1995) – In a tale featuring an annoying nursery rhyme, Poirot’s secretary Miss Lemon persuades Poirot to investigate a series of apparently minor thefts in a university hostel where her sister works, but simple kleptomania soon turns to homicide.

5-One Two Buckle My Shoe

5. “One, Two, Buckle My Shoe” (1992) – Poirot and Chief Inspector Japp investigates the alleged suicide of the Belgian detective’s dentist. Despite the heavy political overtones, this movie is nearly sunk by a premature revelation of the killer.

“LORD EDGEWARE DIES” (2000) Review

“LORD EDGEWARE DIES” (2000) Review

The worlds of Britain’s upper-crust and artists mingled in Agatha Christie’s 1933 novel called “Lord Edgeware Dies aka Thirteen at Dinner”. There have been at least three movie and one radio adaptations of the novel in the past seven to eight decades. The most recent was a 100 minute television adaptation that aired in 2000 on the ITV series, “AGATHA CHRISTIE’S POIROT”

In “LORD EDGEWARE DIES”, Belgian-born detective Hercule Poirot is approached by celebrated stage actress, Jane Wilkinson aka Baroness Edgeware, to approach her rather unpleasant husband on the possibility of a divorce. She has plans to marry her current beau, the Duke of Merton. Although reluctant to carry out such a task, a reluctant Poirot is charmed by the actress into committing this deed. However, both he and his friend, Captain Arthur Hastings, are surprised to learn that Lord Edgeware had already informed his estranged wife of his willingness to grant her a divorce in a letter. Poirot surprises the actress with this information. But she claims that she has never received such a letter.

Jane’s relief at this bit of news is spoiled when Lord Edgeware is found murdered inside his study. When both his secretary and butler claim that the actress had appeared at her husband’s house, several minutes before his death, she becomes the prime suspect. However, a newspaper article catches the eyes of Poirot and Chief Inspector Japp of Scotland Yard. Through the article, they discover that Jane had been a guest at a dinner party on the night of her husband’s murder. Although Jane was one of the first guests to rise from the table, she was only gone for a few minutes. And when the American-born impersonator/comedienne Carlotta Adams was found dead from an overdose, Poirot begins to realize that someone had hired her to appear at the Edgeware home as Jane Wilkinson.

“LORD EDGEWARE DIES” surprisingly turned out to be that rare occasion in which a screen adaptation adheres faithfully to the novel source. The only major difference between the 1933 novel and the 2000 movie was the addition of Poirot’s secretary, Miss Lemon, to the story. One would think that such faithfulness made “LORD EDGEWARE DIES” one of the best Christie adaptations to be filmed. Perhaps other Christie fans might believe so, but not me. I am not saying that “LORD EDGEWARE DIES” is a terrible movie. Trust, it is not. If I have to be brutally honest, I found nothing exceptional about it.

There were a few aspects about Anthony Horowitz’s screenplay that I found troubling. The screenwriter nearly gave away the murderer’s identity just before the death of the third victim, a Scottish writer named Donald Ross, with a penchant for Greek mythology. And I could have done without the subplot involving Hasting’s return to England. It could have worked in a POIROTaired five years earlier or so. But “LORD EDGEWARE DIES” proved to be one of the last three or four movies to feature the Arthur Hastings character. Why create a big hullabaloo over Hasting’s return to England, when his character was destined to be gone within a year? Worse, Hastings seemed more than ever like a buffoon. Poirot’s interactions with Chief Inspector Japp seemed a lot stronger.

Aside from a few performances, I found nothing exceptional about the cast featured in “LORD EDGEWARE DIES”. David Suchet seemed competent as usual as Hercule Poirot. So did Philip Jackson as Chief Inspector Japp and Pauline Moran as Miss Lemon. Only Hugh Fraser suffered, thanks to Horowitz’s script. And despite being a competent actor, I am afraid that Fraser was unable to overcome the script’s less-than-pleasing portrayal of Hastings. Helen Grace gave one of the few outstanding performances as prime suspect Jane Wilkinson. Her portrayal was complex, yet at the same time, made it easy for me to see why Poirot was charmed by her personality. Fiona Allen gave an amusing performance as impersonator Carlotta Adams. And Iain Fraser was solid as the intelligent and observant writer, Donald Ross. Aside from the Fraser, the only other performance that failed to impress me came from John Castle. I found this disappointing, because Castle is usually a subtle, yet outstanding performer. I suspect that like Fraser, Castle was hampered by a badly written character. Even worse, his Lord Edgeware came off as a one-dimensional bully.

Rob Harris did an outstanding job as the movie’s production designer. I thought he and his team did a great job in re-creating London of the 1930s. I was also impressed by Chris O’Dell’s cinematography and Frank Webb’s editing. I was especially impressed by Webb’s editing and Brian Farnham’s direction in the sequence featuring Scotland Yard’s chase of Lord Edgeware’s butler at Croydon Airport. I found Charlotte Holdich’s costumes very sharp and sophisticated – especially for the Lady Edgeware character. On the other, whoever styled Helen Grace’s hair for role, did a slightly sloppy job in re-creating a 30s hairdo for her character.

In the end, I found “LORD EDGEWARE DIES” as a solid, entertaining, yet undistinguished addition to the list of adaptations for“AGATHA CHRISTIE’S POIROT”. I enjoyed it, despite its flaws. But I would never consider it to be one of the best Christie adaptations around. It is a good movie, as far as I am concerned . . . but not a great one.

“EVIL UNDER THE SUN” (2001) Review

“EVIL UNDER THE SUN” (2001) Review

There have been four adaptations of Agatha Christie’s 1941 novel, “Evil Under the Sun”. One version was a radio play that broadcast in 1999. The Adventure Company released its own adaptation in 2007. John Bradbourne and Richard Goodwin released a movie version in 1982. However, the adaptation that has recently caught my attention is the 2001 television movie that aired on ITV’s “AGATHA CHRISTIE’S POIROT”.

While dining at his friend Captain Arthur Hasting’s new Argentine restaurant, Belgian detective Hercule Poirot suffers a sudden collapse. His doctor reveals that Poirot need to lose weight or risk a heart condition. Both the doctor and the detective’s secretary, Miss Lemon, book Poirot at a health resort on the coast of Devon called Sandy Cove. Miss Lemon also insists that Captain Hastings accompany him.

At the Sandy Cove Resort, both Poirot and Hastings come across the usual assortment of guests. Among them was a well-known stage actress named Arlena Stuart Marshall. Many of the guests disliked Arlena, including her new husband, Captain Kenneth Marshall and her 17 year-old stepson, Lionel. Another guest, Mrs. Christina Redfern harbored jealousy over Arlena’s indiscreet affair with hubby Patrick. Well-known dressmaker Rosamund Darnley, was an old flame of Captain Marshall’s, and also harbored jealousy toward Arlena. A fanatical vicar named the Reverend Stephen Lane viewed Arlena as the embodiment of evil. An athletic spinster named Emily Brewster harbored resentment toward Arlena for bailing out on a play she had invested. The only guests who seemed to harbor no feelings regarding Arlena were a Major Barry and a Mr. Horace Blatt. But both seemed to be involved in some mysterious activities around the resort’s island – including the location where Arlena had been waiting to meet for a clandestine lover. When Arlena’s body is discovered strangled to death, Poirot and Hastings work with Scotland Yard inspector Japp to investigate the crime.

When I was younger, I had read Christie’s novel on a few occasions. I tried to enjoy the novel. I really did. I understood that it was a favorite among Christie fans. But I never managed to rouse any enthusiasm for the story. There was something about it that struck me as rather flat. This 2001 television adaptation seemed to be an improvement over the novel. Perhaps a visual representation on the television screen made it easier for me to appreciate the story. I certainly cannot deny that Rob Hinds’ production designs struck me as colorful and sleek – a perfect continuation of the Art Deco style that had dominated the “AGATHA CHRISTIE’S POIROT” since the beginning. I was also impressed by Charlotte Holdich’s sleek costume designs for the cast – especially the female characters. Overall, “EVIL UNDER THE SUN” proved to be eye-candy for those who usually enjoy television and movie productions with a 1930s setting.

The subplot involving Poirot’s health certainly made it easier for me to understand why he would vacation at a not-so-interesting hotel resort. To be honest, I could not see someone like the flashy Arlena Marshall being a guest at such a low-key location. Screenwriter Anthony Horowitz made a wise choice in transforming Arlena’s 16 year-old stepdaughter Linda Marshall, who studied magic; into a 17 year-old boy, studying poisons. Arlena had been strangled. And Scotland Yard made it clear that large hands had been responsible for the crime. The idea of a 16 year-old girl with man-size hands struck me as slightly improbable. After all, if Christie wanted Linda to be considered as a serious suspect, she should have changed the character’s gender, which Horowitz did; or find another method to bump off Arlena Stuart.

The above mentioned changes in Christie’s story – Poirot’s health problems and the transformations of the Linda/Lionel Marshall character – seemed like improvements over the original story. However, other changes made it impossible for me to love this adaptation. I understand why the series’ producers and Horowitz had decided to include Hastings, Japp and Lemon into the story. After all, the Eighth Series, which aired in 2000 and 2001, proved to be the last that featured these three characters. But none of them had appeared in the 1941 novel. Hastings’ presence only gave Poirot a pretext for vacationing at Sandy Cove in the first place. Unfortunately, the running joke about Poirot’s distaste toward the resort’s health-conscious menu for its guests became tiresome within one-third of the movie. Other than the Argentine restaurant sequence, Horowitz failed to make Hastings’ presence relevant to the story. And why on earth was Chief Inspector Japp investigating a murder in Devon? He was outside of Scotland Yard’s jurisdiction, which was limited to Greater London and the home counties of Essex and Hertfordshire in the East of England; along with Buckinghamshire, Berkshire, Surrey and Kent in South East England. In other words . . . what in the hell was Japp doing there in Devon? Miss Lemon proved to be the only veteran recurring cast member that proved to be relevant to the story. She helped Poirot investigate another murder case with connections to Arlena Stuart’s murderer.

The cast gave solid performances. But I could not recall any memorable performances among them. The four main cast members – David Suchet, Hugh Fraser, Philip Jackson and Pauline Moran – were competent as usual. I was also impressed by Michael Higgs (Patrick Redfern), Carolyn Pickles (Emily Brewster), Ian Thompson (Major Barry), Tamzin Malleson (Christine Redfern) and especially Russell Tovey (Lionel Marshall). But there were performances that failed to rock my boat. David Mallinson’s portrayal of Kenneth Marshall struck me as . . . meh. He was not terrible, but simply not that interesting. Marsha Fitzalan’s performance as Rosamund Darnley seemed a bit off. Her portrayal of the dressmaker struck me as gossipy and callow. She seemed like an early 20th century version of her old role, Caroline Bingley; instead of the warm and strong-willed Rosamund. Both Tim Meats and David Timson’s performances seemed slightly hammy and rather off for such a low-key production. But the real worm in the apple proved to be Louise Delamere’s portrayal of victim Arlena Marshall. I realize that Delamere was given a role that seemed the least interesting in Christie’s novel. But Horowitz’s script and Delamere’s performance failed to improve upon it. Delamere ended up projecting a fourth-rate version of Diana Rigg’s performance in the 1982 film.

Overall, “EVIL UNDER THE SUN” proved to be a mixed bag. Production wise, it looked sleek and colorful. The script provided a few improvements over Christie’s novel. And there were some first-rate performances that included David Suchet. But in the end, I felt the movie was slightly undermined by other changes that I found unnecessary and some not-so impressive performances.