POIROT: HERCULE POIROT’S CHRISTMAS

Christmas in Shropshire

It is supposed to be a quiet holiday, Hercule Poirot’s Christmas, with a simple repast and a box of exquisite Belgian chocolates. And he’s been looking forward to it – unlike Scotland Yard’s Chief Inspector Japp (Philip Jackson), for whom a visit to his wife’s Welsh relatives is forecast. “If they start singing again …” he groans wistfully after the pre-Christmas lunch with Poirot which he expects to be his last decent meal until the beginning of the new year.

But when Poirot is about to sit down for dinner that night, he registers a faint chill in his apartment – first his wine is a tad too cold, then he is even compelled to put on a blazer – and to his horror, he discovers that his radiator has gone cold. What is worse, his landlord informs him that it won’t be fixed until after Christmas. And so, when he receives a phone call from cantankerous, wheelchair-bound old Simeon Lee (Vernon Dobtcheff), asking him to spend the holidays at his Shropshire estate Gorston Hall because his life may be in danger, Poirot has only one material question: “Tell to me, if you please, Monsieur Lee: Does your house have the central heating?”

Yet, even after his arrival in Shropshire, Poirot isn’t quite sure what is expected of him; and unfortunately Mr. Lee, who made his fortune prospecting diamonds in South Africa, doesn’t greatly elaborate – only that he (Lee) intends to make an announcement which will give his family, who already hate and fear him, even greater cause for hatred; and that Poirot is to keep his eyes and ears open. “Bien, what am I looking for? What am I listening for?” the detective inquires. “You’ll know when it happens,” is Lee’s terse response. But later that night, after old Simeon has informed his family that he is about to make a new will to accommodate his just-returned third son Harry (Brian Gwaspari) and his Spanish granddaughter Pilar (Sasha Behar) – which inter alia means scrapping the allowance of Harry’s brother George (Eric Carte), a Member of Parliament – and after he has then sent them off again, not without putting them down as “a set of mamby pamby weaklings,” a loud crash and a scream reminiscent of the squeal of a slaughtered pig emanates from Simeon’s room, and when the door (locked from inside) is finally broken open, they find him lying there with his throat slashed, the room in total disorder and looking like a battlefield – and the diamonds that Simeon had recently ordered to be sent from his company’s museum in Pretoria are gone from his safe.

Now, of course, Poirot’s task begins in earnest; and since Wales is just across the border, he quickly resolves to save Japp from his over-exuberant, carol-loving in-laws and invite him to join the investigation. Together with Shropshire Police Superintendent Sugden (Mark Tandy) they set out to find a murderer who may equally likely have tried to prevent the alteration of old Mr. Lee’s will, steal his diamonds, or have had a different motive altogether – for as Simeon himself had boasted to both Pilar and Poirot, he had been “a very wicked man” and didn’t regret it; in fact, he had “enjoyed every moment:” killing, stealing, lying, and producing a legion of sons born “on the wrong side of the blanket” in the process. As Poirot quickly discovers, almost every member of the household has not only a motive for murder but also a flimsy alibi at best: not only George who, like his young wife Magdalena (Andrée Bernard) is deeply in debt, but even George and Harry’s brother Alfred, who stands to inherit the lion’s share of the fortune after having stayed at home and taken care of his father together with his wife Lydia (Catherine Rabett), enduring humiliation upon humiliation over the years. Then there is Pilar who, it turns out, has a few secrets of her own; Harry’s reconciliation with his father is only a recent one (and who says it was honestly felt anyway?); valet Horbury (Ayub Khan Din) has yet other reasons to fear the police – and there is also an elderly lady (Olga Lowe) staying at a nearby inn, who likewise shows a peculiar interest in the goings-on at Gorston Hall.

While plot-wise relatively standard Christie fare – complete with locked room, country estate, belligerent patriarch, shockingly young wives, a prodigal son returning home after a promise of “fatted calf” (to the displeasure of his demure “stay at home, stick in the mud” brother(s)), sudden testamentary changes and other motives galore – and although Christie‘s imagination may have gone a bit overboard, as I am not sure the solution would have worked in reality quite the way it is described here, this adaptation of Hercule Poirot’s Christmas is a delightful entry in the canon featuring David Suchet, as always the perfect embodiment of the little Belgian with the many “little grey cells” and perfectly waxed moustache, whom a speck of dust would cause greater pain than even a bullet, and who cannot eat his breakfast eggs unless they’re exactly the same size. Faithful to Dame Agatha‘s novel in setting and atmosphere, like a number of other installments this episode cleverly varies the series‘s distinctive title melody in tune and instrumentation so as to underline its specific seasonal backdrop and Shropshire locale; which to my mind even makes it reminiscent of the title melody of the Cadfael adaptations, likewise set in Shropshire and originally broadcast by ITV. Fans of Poirot’s sidekick Captain Hastings (Hugh Fraser) may be a bit disappointed to find him missing – but this is still a fine Christmas gift from Dame Agatha, David Suchet and company, and as always there is plenty of banter between Poirot and Japp as well … and an amusing little subplot involving their mutual Christmas presents.

___________________

“Ah, Chief Inspector, you have been thinking again – I have warned you of this before …” (Poirot to Japp, after listening to his theory on the murder.)

 

Production Credits /
Cast and Crew

Production Credits
  • Studios: London Weekend Television (LWT) / Carnival Film & Television / Picture Partnership Productions / ITV (1994)
  • Director: Edward Bennett
  • Executive Producer: Sarah Wilson
  • Producer: Brian Eastman
  • Screenplay: Clive Exton
  • Based on a book by: Agatha Christie
  • Music: Christopher Gunning
Cast
  • David Suchet: Hercule Poirot
  • Philip Jackson: Chief Inspector Japp
  • Vernon Dobtcheff: Simeon Lee
  • Brian Gwaspari: Harry Lee
  • Simon Roberts: Alfred Lee
  • Catherine Rabett: Lydia Lee
  • Eric Carte: George Lee, M.P.
  • Andrée Bernard: Magdalena Lee
  • Sasha Behar: Pilar Estravados
  • Mark Tandy: Superintendent Sugden
  • Olga Lowe: Stella
  • John Horsley: Tressilian
  • Ayub Khan-Din: Horbury

 

Links

POIROT: THE A.B.C. MURDERS

Appalling Bloodshed and Cedric, the Caiman

“The little grey cells, I fear, they grow the rust,” Hercule Poirot regretfully tells his friend Captain Hastings upon welcoming him back to London after Hastings’s failed attempt to settle into farming in South America. No case has kept him busy, Poirot complains; in fact, nothing interesting has happened at all. Now that Hastings is back, however, things will be different again: “But it must be no common affair, Hastings. It must be something recherché. Delicate. Fine.”

And just such a case is about to begin; in fact, it will turn out be one of Poirot’s most difficult ever. Because at this point, he has already received the first of what will be an entire series of letters from an apparent serial killer, brazenly announcing his crimes and taunting Poirot to catch him. In fact, this is the very day the first murder is supposed to take place, in the town of Andover, about 50 miles west of London – and in short order, a woman whose initials are A.A. is indeed found murdered there. Then, also as advised by the killer, a murder occurs in the East Sussex seaside resort of Bexhill … and the victim’s initials are B.B. The third murder’s location is Churston in far-away Devon in the south-west of England – and that victim’s initials are C.C. And to catch him before the fourth murder, the killer tells Poirot, he will have to travel to the Yorkshire town of Doncaster, on the day of the famous St. Leger race, no less.

By this time, the victims’ surviving relatives and friends have formed a “legion of interested parties” that works with Poirot to find the killer. Their task is not an easy one, for the only link between the murders seems to be an A.B.C. Railway guide left with the body of each victim, and the strictly alphabetic order of the victims’ names and the crime scenes. But eventually the detectives find themselves on the trace of a traveling salesman whose initials happen to be A.B.C.: a timid, extremely high-strung, desperately driven man who ever since his return from World War I has been suffering from epileptic seizures, repeated blackouts and (probably) what is today known as post-traumatic stress disorder, and whose presence at the locations of each of the crimes on the days when the respective crimes took place is quickly established. So is he the killer – or if he is not, what, if anything, does he have to do with the murders?

Written in 1935, The A.B.C. Murders is one of Agatha Christie‘s most intriguing mysteries; and this adaptation, in turn, one of the highlights of the long-running series featuring David Suchet as Hercule Poirot. Like the screen versions of other Poirot stories, the present movie takes a number of liberties with Christie’s novel; but as in the case of the equally brilliant and darn near unfilmable Murder of Roger Ackroyd, the changes work well to the advantage of the adaptation. – Given Hercule Poirot’s stature in the annals of mystery writing, it seems strange that except for his portrayal by Albert Finney in the star-studded 1974 movie version of Murder on the Orient Express, for a long time there didn’t seem to be any actor who could convincingly bring to life the clever, dignified little Belgian with his unmistakable egg-shaped head, always perched a little on one side, his stiff, military, slightly upward-twisted moustache, and his excessively neat attire, which had reached the point that “a speck of dust would have caused him more pain than a bullet,” as Agatha Christie introduced him through Captain Hastings’s voice in their and her own very first adventure, The Mysterious Affair at Styles (1920). But the perfect Poirot was finally found in Suchet, who after having had the dubious honor of playing a rather dumbly arrogant version of Scotland Yard Chief Inspector Japp in some of the 1980s’ movies starring Peter Ustinov as Poirot, now finally moved center stage. And the match is spot-on, not only physically but also in terms of personality, for Suchet shares Poirot’s inclination towards pedantry: “I like things to be symmetrical … If I put two things on the mantelpiece, they have to be exactly evenly spaced,” he once said in an interview, adding however that unlike his on-screen alter ego, “I don’t need the same sized eggs for breakfast!”

My one quibble with this series is that Captain Hastings (Hugh Fraser) tends to come across as somewhat more vacuous and naive than in the novels narrated from his point of view, and this movie is no exception in that regard. However, I frankly admit that I, too, have to chuckle at the subplot involving Hastings’s travel souvenir for Poirot (a stuffed, ill-smelling caiman named Cedric (!), shot by Hastings himself in the waters of the Orinoco and causing the pedantically neat Poirot repeated spells of queasiness); and Hastings’s eagerness to tell anyone who will listen how exactly he came into the caiman’s possession. And of course, Philip Jackson never disappoints in his role as a wonderfully down-to-earth, sturdy Inspector Japp; the supporting cast (including, inter alia, Donald Sumpter, Donald Douglas, Nicholas Farrell, Pippa Guard and Vivienne Burgess) is uniformly excellent, and so are the movie’s production values, from cinematography to art direction and costume design. Poirot even gets to have a Holmsean moment in the vein of “the curious incident of the dog in the night-time” (“The Memoirs of Sherlock Holmes: Silver Blaze, 1894), when he points out to Hastings after the first murder that the A.B.C. Railway Guide found next to the victim cannot have been left there randomly: “The fingerprints tell us that.” “But … there weren’t any fingerprints,” Hastings responds. “Exactement,” Poirot explains. “Our murderer, he is in the dark, and seeks to remain in the dark. But in the very nature of things, he cannot help to throw the light upon himself.” And as always, Poirot turns out to be right in the end …

 

Production Credits /
Cast and Crew

Production Credits
  • Studios: London Weekend Television (LWT) / Carnival Film & Television / Picture Partnership Productions / ITV (1992)
  • Director: Andrew Grieve
  • Executive Producer: Nick Elliott
  • Producer: Brian Eastman
  • Screenplay: Clive Exton
  • Based on a book by: Agatha Christie
  • Music: Christopher Gunning
Cast
  • David Suchet: Hercule Poirot
  • Hugh Fraser: Lieutenant Hastings
  • Philip Jackson: Chief Inspector Japp
  • Donald Sumpter: Alexander Bonaparte Cust
  • Donald Douglas: Franklin Clarke
  • Nicholas Farrell: Donald Fraser
  • Pippa Guard: Megan Barnard
  • Cathryn Bradshaw: Mary Drower
  • Nina Marc: Thora Grey
  • Vivienne Burgess: Lady Clarke
  • John Breslin: Mr. Barnard
  • Michael Mellinger: Franz Ascher
  • Ann Windsor: Miss Merrion
  • Miranda Forbes: Mrs. Turton
  • David McAlister: Inspector Glen
  • Peter Penry-Jones: Superintendent Carter

 

Links

POIROT: THE MYSTERIOUS AFFAIR AT STYLES

The Little Grey Cells’ Debut

“Another example of the English bucolic beliefs,” Hercule Poirot pontificates to a group of puzzled fellow Belgians. “Anagallis arvensis. In English: the scarlet pimpernel. It is believed that when this flower is opened, it is a sign of a prolonged spell of the fine weather. It is seldom seen open in this country …”

What we first see of the little detective with his unmistakeable egg-shaped head, stiff, upward-twisted moustache and many little grey cells, as he utters these words, is a pair of patent leather shoes, gingerly traipsing right through a military exercise preparing the local village population for war on the “home front.” Recently arrived from a Belgium made “temporarily uninhabitable” by the Germans, Poirot and his compatriots have found refuge in Styles St. Mary, a quintessential English village, where the detective insists that they must speak English even among themselves, to quicker learn the language and thereby “gain the confidence of the natives,” and is much chagrined by his countrymen’s preferred method of acclimatization: visits to the local pub; a place he just can’t get himself to enter. (“All those bottles of a different size, all in the wrong order … Ech.”)

But Poirot’s mood considerably lightens when he unexpectedly meets a pre-war acquaintance, Lieutenant (Captain-to-be) Hastings (Hugh Fraser), temporarily returned from the front to nurse an injured leg and currently visiting his friend John Cavendish’s (David Rintoul’s) family in nearby Styles Court. As coincidence has it, Hastings has already boasted about his knowledge of the Belgian to John’s family – not knowing that Poirot in fact lives very close by now – and admitted “a secret hankering” to become a detective after the war himself, working on a system “based” on Poirot’s. Neither of them knows how quickly they will find themselves working together. For not long thereafter, John Cavendish’s mother Emily Inglethorpe (Gillian Barge) is poisoned, and Hastings obtains John’s permission to call in Poirot. (“[You] have given to me faithfully the facts,” the detective subsequently comments on Hastings’s report of the crime. “But of the order in which you present them I say nothing. Truly, it is deplorable. But I make allowances – you are upset. Later, when you are calmer, we will arrange the facts neatly; each in his proper place. Those of importance we will place on one side … and those of no importance …” – he blows a speck of dust off his jacket – “we will blow them away.”)

Suspicion quickly falls on Mrs. Inglethorpe’s twenty-years younger husband Alfred (Michael Cronin), but Poirot insists to Scotland Yard’s Chief Inspector Japp (Philip Jackson), arriving from London, that arresting Mr. Inglethorpe will bring him “no kudos.” So who then is responsible for the murder: John Cavendish? His brother Lawrence (Anthony Calf)? John’s wife Mary (Beatie Edney)? Mrs. Inglethorpe’s protege Cynthia (Allie Byrne)? Or her factotum Evie Howard (Joanna McCallum)? While several members of the family would have had the opportunity to come by the poison, hardly any of them seems to have a motive to kill their strict but benevolent matriarch. (Or do they?) Only at the last minute, a chance remark by Hastings, coupled with Poirot’s pedantic neatness, leads to the killer’s discovery.

Given Hercule Poirot’s prominence in the annals of mystery writing, it seems strange that except for his portrayal by Albert Finney in the star-studded 1974 movie version of Murder on the Orient Express, for a long time there didn’t seem to be any actor who could convincingly bring to life Agatha Christie‘s clever, dignified little Belgian. But the perfect Poirot was finally found in David Suchet, who after having had the dubious honor of playing a rather dumbly arrogant version of Chief Inspector Japp in some of the 1980s’ movies starring Peter Ustinov now moved center stage. And the match is spot-on, not only physically but also in terms of personality, because Suchet shares Poirot’s inclination towards pedantry: “I like things to be symmetrical … If I put two things on the mantelpiece, they have to be exactly evenly spaced,” he once said, adding however that unlike his on-screen alter ego, “I don’t need the same sized eggs for breakfast!”

Published in 1920 but set three years earlier, The Mysterious Affair at Styles was Agatha Christie‘s first-ever book and thus, established not only Poirot’s and Hastings’s characters but also their relationship. Unfortunately, Hastings comes across as a bit more vacuous here (and in the series in general) than in the novels narrated from his point of view; and this although the same station, ITV, did so well in debumblifying Sherlock Holmes’s friend and chronicler Dr. Watson. That, however, is my only quibble. As always, Philip Jackson is a wonderfully down-to-earth Japp, the supporting cast is uniformly first-rate, and the movie maintains the tone and atmosphere set by Christie‘s novel in a marvelous fashion, in everything from cinematography and costume design to its soundtrack (which repeatedly and cleverly transforms the title melody into an apparently completely different piece of background music reflecting a given scene’s mood), and the use of real WWI footage to underscore Hastings’s nightmare-inducing wartime experience. To today’s viewers, the mystery’s solution may seem a bit contrived; but that certainly wouldn’t have been noted in 1920 – and in fact the killer’s disguise is so clever that Christie used similar methods again and to equally great effect in later novels, for example in Miss Marple’s debut mystery The Murder at the Vicarage (1930).

___________________

Poirot to Hastings, during a walk in the woods: “Have you ever been to New York? … It is a beautiful city. Beautiful. There each street is at right angles to each avenue, and each avenue is numbered nicely: first, second, third, fourth. Man is in command there. But here? How does one live with the fact that, au fond, nature is untidy – uncontrolled – anarchic – inefficient?”
Hastings: “But that’s what I like about it.”
(Poirot sighs, foregoing further comment.)

 

Production Credits /
Cast and Crew

Production Credits
  • Studios: London Weekend Television (LWT) / Carnival Film & Television / Picture Partnership Productions / ITV (1990)
  • Director: Ross Devenish
  • Executive Producer: Nick Elliott
  • Producer: Brian Eastman
  • Screenplay: Clive Exton
  • Based on a book by: Agatha Christie
  • Music: Christopher Gunning
Cast
  • David Suchet: Hercule Poirot
  • Hugh Fraser: Lieutenant Hastings
  • Philip Jackson: Chief Inspector Japp
  • David Rintoul: John Cavendish
  • Beatie Edney: Mary Cavendish
  • Gillian Barge: Mrs. Inglethorp
  • Michael Cronin: Alfred Inglethorp
  • Joanna McCallum: Evie Howard
  • Anthony Calf: Lawrence Cavendish
  • Allie Byrne: Cynthia Murdoch
  • Lala Lloyd: Dorcas
  • Penelope Beaumont: Mrs. Raikes
  • Merelina Kendall: Mrs. Dainty

 

Links

POIROT

Poirot in Perfection

Hercule Poirot is one of the most famous detectives in literary history. Yet, strangely, except for his portrayal by Albert Finney in the star-studded 1974 movie version of Murder on the Orient Express, for a long time, there did not seem to be an actor who could convincingly bring to life the clever, dignified little Belgian with his unmistakable egg-shaped head, always perched a little on one side, his stiff, military, slightly upward-twisted moustache, and his excessively neat attire, which had reached the point that “a speck of dust would have caused him more pain than a bullet,” as Agatha Christie introduced him through his friend Captain Hastings’s voice in their and her own very first adventure, The Mysterious Affair at Styles (1920). But leave it to British TV to finally find the perfect Poirot in David Suchet, who after having had the dubious honor of playing a rather dumbly arrogant version of Scotland Yard’s Chief Inspector Japp in some of the 1980s’ movies starring Peter Ustinov as Poirot, was now finally allowed to move center stage.

And the match is spot-on, not only physically but also, and most importantly, in terms of personality. Suchet shares Poirot’s inclination towards pedantry: “I like things to be symmetrical … If I put two things on the mantelpiece, they have to be exactly evenly spaced,” he once said in an interview, comparing his real-life persona to that of Poirot, but adding that unlike his on-screen alter ego, “I don’t need the same sized eggs for breakfast!” Although previously not interested in mysteries, his habitually meticulous research allowed him to quickly become intimately familiar with Christie‘s Belgian sleuth and the workings of his little gray cells – and to slip so much into Poirot’s skin that I, for one, can no longer pick up a Poirot book without instantly hearing Suchet‘s voice as that of the great little detective.

Agatha Christie’s Poirot ran a total of 14 years and, in 70 episodes, contains dramatizations of all but one of Poirot’s adventures (the sole exception being the play Black Coffee, which for copyright reasons could not be filmed, after having been novelized – though with the consent of Agatha Christie‘s estate – by novelist Charles Osborne).  The series began with three seasons of shorter episodes based on Poirot short stories (Seasons 2 and 3 each opening, however, with a feature-length movie based on a novel; that of Season 3 being, by way of a flashback as it were, the pre-war acquaintances Poirot and Hastings’s wartime reunion in The Mysterious Affair at Styles). A fouth season comprised solely of movie-length novel adaptations, a fifth season collecting the final set of shorter episodes based on short stories, and from Season 6 onwards, the remaining novels were again broadcast as movie-length feature films; including all of Poirot’s greatest cases: The Murder of Roger Ackroyd, Murder on the Orient Express, Death on the Nile, The A.B.C. Murders, Lord Edgeware Dies, Cards on the Table, and the “little grey cells'” somewhat involuntary holiday outing, Hercule Poirot’s Christmas.* – The penultimate episode, The Labours of Hercules, is a movie-length conflation of the twelve interlinked short stories jointly published under that title, combined with elements of the story The Lemesurier Inheritance (from the 1974 compilation Poirot’s Early Cases), which had not been adapted separately in any of the previous seasons.

In the canon of shorter episodes, as well as in the majority of the initial movie adaptations of Poirot novels, Philip Jackson stars as a rather sturdy, down-to-earth incarnation of Chief Inspector Japp, Pauline Moran is Poirot’s epitome of a secretary, Miss Lemon (whose role, like Japp’s, is added into a number of stories not originally featuring them, thankfully without greatly disturbing the narrative flow and setting of Christie‘s originals); and Hugh Fraser takes on the role of Captain Hastings, whom the screenplays, unfortunately, make come across as a bit more of a well-educated but vacuous gentleman than do the novels narrated from his point of view, such as The Mysterious Affair at Styles and Lord Edgware Dies. (And this although ITV did so well in debumblifying Sherlock Holmes’s friend and chronicler Dr. Watson!)  The final feature-length movies include dramatizations of the seven mysteries in which Poirot is joined in his investigations by his novelist friend (and presumed Agatha Christie alter ego) Ariadne Oliver, who is portrayed in “to a T” perfection by Zoë Wanamaker – fuzzy hairdo, seemingly scatterbrained ways and love of apples included.  The final episodes’ recurring cast is rounded out by David Yelland as Poirot’s wonderfully unobtrusive, perfectly-trained, yet very observant butler George.


*Note: Brief reviews of the feature films comprising Seasons 7 and 8 (The Murder of Roger Ackroyd, Lord Edgware Dies, Evil Under the Sun, and Murder in Mesopotamia) are included in the episode descriptions below; reviews of the episodes The Mysterious Affair at Styles, The A.B.C. Murders, and Hercule Poirot’s Christmas are set out in separate posts.

 

The Shorter Episodes
Season 1

Quill-Inkpot Review Icon The Adventure of the Clapham Cook
Poirot probes the disappearance of a wealthy woman’s cook, and soon uncovers an elaborate plot to hide an ever darker crime.

Quill-Inkpot Review Icon Murder in the Mews
When a woman is found shot in her flat after Bonfire Night, Poirot is enlisted to decipher whether the victim died by her own hand, or by someone else’s.

Quill-Inkpot Review Icon The Adventure of Johnnie Waverly
Poirot tries to prevent the kidnapping of a country squire’s son. While his plan fails, all is not what it seems.

Quill-Inkpot Review Icon Four and Twenty Blackbirds
When a reclusive painter is found dead, Poirot finds the vital clue in the dead man’s last meal.

Quill-Inkpot Review Icon The Third Floor Flat
Poirot investigates a murder that hits close to home after the new occupant of a flat two floors below his is found shot.

Quill-Inkpot Review Icon Triangle at Rhodes
An enchanting beauty is fatally poisoned while Poirot holidays on the Greek island of Rhodes.

Quill-Inkpot Review Icon Problem at Sea
Poirot’s Mediterranean cruise is disrupted when an unlikeable passenger is found murdered in her stateroom.

Quill-Inkpot Review Icon The Incredible Theft
A wealthy industrialist’s plan to snare a Nazi sympathizer goes awry when the secret plans for a new fighter plane inexplicably go missing.

Quill-Inkpot Review Icon The King of Clubs
A deck with a missing card provides Poirot with the clue he needs to solve the murder of the tyrannical head of a movie studio.

Quill-Inkpot Review Icon The Dream
A famous pie manufacturer tells Poirot that he has dreamt of his own suicide, then dies under the same circumstances he dreamt about the very next day.

Season 2

Quill-Inkpot Review Icon The Veiled Lady
Poirot becomes a criminal himself when he agrees to help a beautiful woman recover a letter written in her youth that is being used to blackmail her.

Quill-Inkpot Review Icon The Lost Mine
When a Chinese businessman with a map to a long lost silver mine is found dead in Chinatown, Poirot must find the map and killer.

Quill-Inkpot Review Icon The Cornish Mystery
Alice Pengelley visits Poirot in London, telling him she thinks she is being poisoned by her husband. When Poirot arrives in Cornwall the next day to investigate Mrs. Pengelley’s charges, he is too late, and finds her dead.

Quill-Inkpot Review Icon The Disappearance of Mr. Davenheim
Poirot wagers Chief Inspector Japp that he can solve the mystery of a missing banker without leaving his flat.

Quill-Inkpot Review Icon Double Sin
A young woman is delivering a set of antique Napoleon miniatures to an American collector when they are stolen from her suitcase. Captain Hastings, under Poirot’s guidance, sets out to find the thief.

Quill-Inkpot Review Icon The Adventure of the Cheap Flat
When U.S. Navy plans for a new submarine are stolen and the thief tracked to London, the FBI sends an agent to work with Inspector Japp to recover them.

Quill-Inkpot Review Icon The Kidnapped Prime Minister
When the prime minister is kidnapped right before an important international arms summit, Poirot has just 32–and a quarter–hours to find the prime minister.

Quill-Inkpot Review Icon The Adventure of the Western Star
After receiving threatening letters, an aristocrat is robbed of her famed diamond in front of Poirot’s eyes.

Season 3

Quill-Inkpot Review Icon How Does Your Garden Grow?
At a flower show, an older woman in a wheelchair approaches Poirot, gives him an empty seed packet, and asks him to visit her the next day. When Poirot arrives the next day, the woman is dead, murdered with poison.

Quill-Inkpot Review Icon The Million Dollar Bond Robbery
Poirot is entrusted with transferring $1 million in Liberty Bonds to America on the Queen Mary, but the bonds are cleverly stolen anyway.

Quill-Inkpot Review Icon The Plymouth Express
A mining entrepreneur hires Poirot to solve the brutal murder of his daughter and the theft of her jewels aboard the express train to Plymouth

Quill-Inkpot Review Icon Wasps’ Nest
Poirot realizes that a murder is being plotted, and with the help of Hastings’ latest hobby, he sets out to prevent it.

Quill-Inkpot Review Icon The Tragedy at Marsdon Manor
Poirot is drawn into a case where a man is found dead on the grounds of his estate, apparently frightened to death by the spirits that haunt it.

Quill-Inkpot Review Icon The Double Clue
Poirot helps Chief Inspector Japp try to find a jewel thief, but is sidetracked when a bewitching Russian countess arrives on the scene.

Quill-Inkpot Review Icon The Mystery of the Spanish Chest
Poirot is asked to protect a woman from her violent husband, but events take a turn when the husband soon becomes the victim of a gruesome murder.

Quill-Inkpot Review Icon The Theft of the Royal Ruby
Poirot reluctantly agrees to help an Egyptian prince recover a valuable royal ruby that was brazenly stolen from him during the Christmas holidays.

Quill-Inkpot Review Icon The Affair at the Victory Ball
Poirot and Hastings attend the Victory Ball, a popular costume party. During the festivities, one of the guests is found stabbed to death, and another succumbs to a drug overdose the next day.

Quill-Inkpot Review Icon The Mystery of Hunter’s Lodge
Poirot is taken ill during a weekend shooting party, which ends when the unpopular host is found murdered in his study.

Season 4

Feature films only (see below).

Season 5

Quill-Inkpot Review Icon The Adventure of the Egyptian Tomb
Shortly after opening an ancient Egyptian tomb, members of an English-American museum expedition start dropping off like flies. Can it truly be the Pharaoh’s curse? Poirot travels to Egypt to unravel the mystery.

Quill-Inkpot Review Icon The Underdog
Poirot investigates when the cruel CEO of a chemical company is bludgeoned to death in his home after the company’s formula for a revolutionary new synthetic rubber is targeted by a thief.

Quill-Inkpot Review Icon The Yellow Iris
A man celebrates the two-year anniversary of his wife’s sudden death by cyanide while in Argentina – a death which Poirot himself had witnessed, but could not solve at the time.

Quill-Inkpot Review Icon The Case of the Missing Will
A terminally ill man asks Poirot to be executor of his new will but is murdered before he can write it, and it is later discovered the old will has been stolen.

Quill-Inkpot Review Icon The Adventure of the Italian Nobleman
Poirot investigates the murder of an Italian count who was also the employer of Miss Lemon’s new boyfriend. He soon learns that the victim was being targeted by a blackmailer.

Quill-Inkpot Review Icon The Chocolate Box
While in Belgium, Poirot relates to Chief Inspector Japp a case from his early days in the Belgian police force that nearly eluded the brilliance of his ‘little grey cells.’

Quill-Inkpot Review Icon Dead Man’s Mirror
An obnoxious man who outbid Poirot at an auction for an antique mirror is murdered after seeking Poirot’s assistance to look into the dealings of his business associate.

Quill-Inkpot Review Icon Jewel Robbery at the Grand Metropolitan
While Poirot vacations in Brighton to boost his health, the beautiful pearl necklace of a theatre actress staying at his hotel is mysteriously stolen.

Seasons 6 – 13

Feature films only.

           

 

The Feature Films
Seasons 2 & 3

Quill-Inkpot Review Icon The Mysterious Affair at Styles
Hastings renews his friendship with Poirot and involves him in the mysterious poisoning of the mistress of a manor house married to a man twenty years her junior.
Review here.

Quill-Inkpot Review Icon Peril at End House
While Poirot is staying at an exclusive Cornish resort, he meets a beautiful heiress whose life is in danger.

Season 4

Quill-Inkpot Review Icon The A.B.C. Murders
Poirot receives taunting letters from a serial killer who appears to choose his victims and crime scenes alphabetically.
Review here.

Quill-Inkpot Review Icon Death in the Clouds
While Poirot sleeps on an airplane flight from Paris to London, a notorious French moneylender is murdered with a poisoned dart.

Quill-Inkpot Review Icon One, Two, Buckle My Shoe
After Poirot pays a routine visit to his dentist, the doctor apparently shoots himself to death a short time later. Chief Inspector Japp appropriately recruits the detective as both witness and consultant.

Season 6

Quill-Inkpot Review Icon Hercule Poirot’s Christmas
The tyrannical patriarch of a dysfunctional but wealthy family summons his adult children for a Christmas reunion, but prior to the holiday his throat is slashed apparently by one of them.
Review here.

Quill-Inkpot Review Icon Hickory Dickory Dock
Miss Lemon persuades Poirot to investigate a series of apparently minor thefts in a university hostel, but simple kleptomania soon turns to baffling homicide.

Quill-Inkpot Review Icon Murder on the Links
While Poirot and Hastings are holidaying in France, a businessman tells Poirot that his life is in danger. The next day he is found stabbed to death on a nearby golf course.

Quill-Inkpot Review Icon Dumb Witness
An elderly woman confides to Poirot that she fears one of her relatives is trying to kill her for her money. He persuades her to disinherit her heirs, but she is murdered anyway.

Season 7

Quill-Inkpot Review Icon The Murder of Roger Ackroyd
As the story’s title indicates, the case centers around Roger Ackroyd, an industrialist, the richest man in his home village of King’s Abbot and “more impossibly like a country squire than any country squire could really be,” as village doctor James Sheppard describes him in the novel. When he is found murdered, Poirot finds himself compelled to step out of  a rather prematurely-chosen retirement, to investigate Ackroyd’s death … as well as its connection to that of Ackroyd’s friend, the only recently-widowed Mrs. Ferrars.

For as it happens, only a short while before his industrialist friend Ackroyd’s death, Poirot had removed himself to the country, where he had resolved to, henceforth, devote his life to the singular pursuit of growing the perfect vegetable marrow. And the detective’s chosen place of retirement is the very village that Roger Ackroyd had called his home, too: King’s Abbot, an archetypal English village like those that would later become so crucial to Christie‘s Miss Marple mysteries, the first of which – Muder at the Vicarage – was published in 1930, four years after this particular novel; and Christie later said that both the setting of The Murder of Roger Ackroyd and the character of Dr. Sheppard’s spinsterish sister were elements she had enjoyed writing so much that she had instantly resolved to explore them in greater depth in a separate book.

Story-wise, The Murder of Roger Ackroyd is one of the most remarkable entries in all of Christie‘s canon, not least because of its completely unexpected turntable conclusion – which is, surprisingly enough, maintained extremely well in this adaptation, by means of a simple but very effective directorial slight of hand.

Quill-Inkpot Review Icon Lord Edgware Dies
Poirot is asked to intervene on behalf of beautiful young actress Jane Wilkinson, Lady Edgware by marriage, who now seeks her husband’s consent to a divorce. When shortly thereafter Lord Edgware is found murdered, Lady Edgware is Inspector Japp’s obvious suspect; never mind that she has a cast-iron alibi for the night of the crime. But is the inspector right after all? Poirot, somewhat dazzled by the Lady, is not sure – and unfortunately, his little gray cells do not work quickly enough to prevent a second murder, that of American actress and mimic Carlotta Adams, and even a third one, of a young playwright.

Season 8

Quill-Inkpot Review Icon Evil Under the Sun
Poirot’s rehabilitative health retreat on an island resort becomes an even more stimulating mental exercise when a flirtatious film star is found strangled on a nearby beach.  This story, like the other Season 8 installment, Murder in Mesopotamia (see below), features a now classic pattern, in assembling Poirot and all suspects in a hotel on a small island off the English coast, with no possibility to leave until after the murder it solved. Christie herself had already employed such a setup two years prior to writing this present story, in 1939’s And Then There Were None, where the murderer kills one person after another in the style of the Ten Little Indians nursery rhyme, and she repeatedly returned to it; probably most famously in the 1965 Miss Marple story A Caribbean Mystery, which – tropical setting aside – is similar to Evil Under the Sun not only in its primary setup but also in its solution, and which I find the more successful of the two stories: If there are ever easily-detectable red herrings and obvious hints in an Agatha Christie mystery, Evil Under the Sun is it; and it is probably one of the few stories where at least those familiar with Christie‘s writings have a decent shot at solving all or part of the mystery before the famous final conclave.

Quill-Inkpot Review Icon Murder in Mesopotamia
This is one of several stories based on the impressions Christie gained while accompanying her second husband, archeologist Sir Max Mallowan, to the Middle East; and it features a classic “locked room” riddle: Poirot and Hastings are invited to visit an excavation site not far from Baghdad. During their visit, Louise, the beautiful wife of expedition leader Dr. Eric Leidner is found murdered – in her room, behind a closed door and closed window, and although nobody has been seen entering the courtyard and staircase leading to her room.

Season 9

Quill-Inkpot Review Icon Five Little Pigs
Lucy Crale enlists Poirot to investigate the 14-year-old murder in which her mother was hanged for poisoning her artist father.

Quill-Inkpot Review Icon Sad Cypress
Elinor Carlisle seems to be the obvious murderer of her ailing aunt and the beautiful romantic rival who broke up her engagement, but Poirot uncovers darker motives.

Quill-Inkpot Review Icon Death on the Nile
A wealthy British heiress honeymooning on a Nile cruise ship is stalked by a former friend, whose boyfriend she had stolen before making him her new husband.

Quill-Inkpot Review Icon The Hollow
Poirot stumbles on the murder scene of philandering Dr Christow in a country house as his wife standing next to him with a revolver in her hand.

Season 10

Quill-Inkpot Review Icon The Mystery of the Blue Train
Poirot investigates the brutal murder of an American heiress and the theft of a fabulous ruby on the Blue Train between Calais and Nice.

Quill-Inkpot Review Icon Cards on the Table
The enigmatic, sinister Mr. Shaitana, one of London’s richest men, invites 8 guests, 4 of them possible murderers and 4 ‘detectives’ to his opulent apartment.

Quill-Inkpot Review Icon After the Funeral
When a man disinherits his sole beneficiary and bequeaths his wealth to others just prior to his death, Poirot is called in to investigate.

Quill-Inkpot Review Icon Taken at the Flood
A young widow is left in sole possession of her late husband’s fortune, and her brother refuses to share it with her in-laws – so they enlist Poirot to try to prove that the widow’s missing first husband might not be dead after all.

Season 11

Quill-Inkpot Review Icon Mrs McGinty’s Dead
A pair of photographs are the only clues that Poirot has to solve the murder of a village charwoman, and to prove the innocence of the victim’s lodger.

Quill-Inkpot Review Icon Cat Among the Pigeons
A foreign revolution, a kidnapped princess, and a trove of priceless rubies are linked to a prestigious girls’ school, where staff members are brutally murdered.

Quill-Inkpot Review Icon Third Girl
After a seemingly neurotic young heiress tells Ariadne Oliver and Poirot that she thinks she may have killed someone, her ex-nanny is found with her wrists slashed.

Quill-Inkpot Review Icon Appointment with Death
Syria 1937. While accompanying her husband on an archaeological dig, the abusive and overbearing Lady Boynton is found stabbed to death.

Season 12

Quill-Inkpot Review Icon Three Act Tragedy
Poirot attends a party at the great actor Sir Charles Cartwright’s Cornish mansion. A local reverend dies while drinking a cocktail, but no poison is found in his glass. Poirot and Cartwright decide to investigate when another victim is claimed in the same manner.

Quill-Inkpot Review Icon Hallowe’en Party
During a village’s Hallowe’en party, a young girl boasts of having witnessed a murder from years before. No one believes her tale until her body is found later on in the evening, drowned in the apple-bobbing bucket.

Quill-Inkpot Review Icon Murder on the Orient Express
Poirot investigates the murder of a shady American businessman stabbed in his compartment on the Orient Express when it is blocked by a blizzard in Croatia.

Quill-Inkpot Review Icon The Clocks
Four clocks surround an unidentified corpse in a blind woman’s house, and a young typist is summoned to the crime scene. However, Poirot is convinced that the complicated setup is merely hiding a simpler solution.

Season 13

Quill-Inkpot Review Icon Elephants Can Remember
Ariadne Oliver becomes an amateur sleuth when her goddaughter tasks her to find out the truth behind her parents’ mysterious deaths.

Quill-Inkpot Review Icon The Big Four
As the threat of world war looms large, Poirot seeks the help of friends both old and new when he is pitted against a dangerous group of dissidents responsible for a series of violent murders.

Quill-Inkpot Review Icon Dead Man’s Folly
Mrs Oliver is asked to devise a murder hunt for a Devon fête, but her sense of foreboding summons Poirot to the scene. Her fears are realized when the girl playing murder victim winds up truly murdered.

Quill-Inkpot Review Icon The Labours of Hercules
Poirot’s pursuit of an infamous art thief leads him to a snowbound hotel in the Swiss Alps, where he is met with a plethora of mysteries and the reappearance of a familiar face from the past.

Quill-Inkpot Review Icon Curtain: Poirot’s Last Case
An ailing Poirot returns to Styles with Hastings nearly three decades after solving their first mystery there in order to prevent a serial killer from claiming more victims.

 

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Production Credits /
Cast and Crew

Production Credits
  • Studios: Carnival Film & Television / London Weekend Television (LWT) / Picture Partnership Productions / ITV (1989 – 2013)
  • Directors: various
  • Producers: various
  • Screenplays: various writers
  • Based on books by: Agatha Christie
  • Music: Christopher Gunning / Christian Henson / Stephen McKeon
Recurring Cast
  • David Suchet: Hercule Poirot
  • Hugh Fraser: Captain Hastings
  • Philip Jackson: Chief Inspector Japp
  • Pauline Moran: Miss Lemon
  • Zoë Wanamaker: Ariadne Oliver
  • David Yelland: George

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Links