This episode was based on the short story 'Wasps' Nest', first published in 1928. The story was adapted for television by David Renwick and directed by Brian Farnham.
Script versus short story One of Christie's shortest short stories, this had to be embellished quite a lot to work as a 50-minute adaptation. Luckily, Renwick's additions make sense and enhance the story, to some extent. Personally, at least, I've always found it somewhat unbelievable that Poirot would just happen to be passing the chemist's in Barchester, just happen to notice Langton's name (a man he had met once at a dinner party), and then just happen to make the connection that it would have something to do with Harrison and his wife by bumping into Langton in the street. Renwick makes the sensible decision to include a garden fete, which Poirot, Hastings and Japp attend on Hastings's suggestion (of course, it would take Hastings (or Ariadne Oliver, in his later years) for Poirot to attend something like that). At the garden fete, they meet Harrison and Molly Deane, and Hastings takes photos of Langton, Harrison and Deane (his new hobby). Harrison becomes a long-time friend of Poirot here, or rather, Poirot was a friend of his father, who was one of his first friends in England. Poirot, for fun it seems, reads the tea leaves of Molly Deane and notices the bright red lipstick on the cup (belonging to Langton, who is cleverly dressed up as a clown on the fete). Later, Poirot gets stung by one of the wasps in Harrison's garden and has to go to the local chemist (where he discovers Langdon's name in the poison registry). Moreover, Japp (who is added to the story) is admitted to hospital with appendicitis, in an amusing subplot that leads to Japp identifying the doctor of Harrison. Miss Lemon is added, and she regularly attends fitness classes in the same street that Harrison visits his doctor (providing Poirot with yet another link). Also, Molly Deane becomes a fashion model in the adaptation, thus allowing for an extravagant fashion show that also provides a clue to the crime (it turns out Langton has a photo of Deane in a new season's dress; proof of their affair). Another clue added to the mix is a large amount of petrol in the water tank outside Harrison's house (Poirot notices the smell), proof that Harrison substituted the petrol with water to ensure that Langton wouldn't succeed with the wasp killing and would resort to cyanide. Finally, Poirot is seen breaking into Langton's house (!) to remove the cyanide and replace it with washing soda, so that Harrison wouldn't succeed (which is much more believable than just placing some soda in his jacket pocket). In the end, then, the adaptation adds a long list of clues which Poirot has to piece together. Consequently, this becomes an quintessential Poirot episode, since he arrives at the right conclusion through his excellent observational skills and his knowledge of human psychology. The episode is also one of the darker ones of the series up to this point. Directing, production design, locations, soundtrack Farnham's direction is well executed. He displays the all-important wasps' nest from all possible angles, and nicely displays the London suburb summer, as well as the fashion show. Locationwise, a house near Shepperton becomes Harrison's house, Arnos Grove station becomes 'Marble Hill Station', an Art Deco house in Surrey (seen briefly in The Veiled Lady) becomes Langton's house, and Japp ends up at the Royal Masonic Hospital in Ravenscroft Park. See this website for location photos. The soundtrack is great for this one, and 'The Height of Fashion' (Molly Deane's theme) is available on the latest CD.
Actors and characters By this point in the series I really feel that Suchet's Poirot has settled. By now, Poirot looks and sounds exactly the same as in the most recent episodes. It's a testament to Suchet's skill, that so little has changed. As he tends to note when interviewed about the series, Poirot never really changed in Christie's descriptions, and neither should his portrayal of him. Of the guest actors, the standouts are Martin Turner as John Harrison and a young Peter Capaldi as Claude Langton, but the entire cast works well for this episode.
This episode was based on the short story 'The Plymouth Express', first published as'The Mystery of the Plymouth Express' in The Sketch in 1923. The story was adapted for television by Rod Beacham and directed by Andrew Piddington. 'Plymouth Express' later formed the basis for The Mystery of the Blue Train, a novel that was adapted for Series Ten.
Script versus short story Beacham stays largely true to the source material, with certain important additions. The adaptation opens with a visit by Rupert Carrington to Florence in her flat, and the arrival of the Count at the 'Adelphi' (the Ritz in the story). Moreover, there's a subplot involving stocks in a mining company (Yellow Creek), which interests Hastings, of course. In the adaptation, Halliday (who is Australian and called Gordon here) consults Poirot before the crime takes place. At first, he wants him to look into the issue of the Count, and Poirot and Hastings observe the couple at the Adelphi. Later, when Florence disappears on her journey with the Plymouth Express, Halliday again consults Poirot to ask him to find her. Of course, she is found murdered, and that's just about where the original story comes into the picture. There are important additions to that section too. For instance, Poirot and Hastings travel down on the train to interview the paper boy (mentioned in the story), and he remembers Florence/the culprit because she asked for the late edition of the paper, not because of a large tip. This later turns out to be a plot point, as the Count had to know whether his stock speculation in Yellow Creek had succeeded. Moreover, Miss Lemon is added to the plot, and she finds the early and late editions of all the major newspapers. Hastings gets to "interview" Rupert Carrington, whom he tracks down in a bar. Carrington is trying to escape his creditors. Also, the jewel thief (McKenzie here, Red Narky in the short story) is discovered in Miss Lemon's archive, not by Japp in the Scotland Yard files (a bit unbelievable perhaps, but a nice way to include her filing system). All in all, though, it's a nicely done adaptation with only minor changes. Even if I wish they had skipped this one, knowing that they would later get to The Mystery of the Blue Train, a very similar story. Perhaps they could have done 'The Lemesurier Inheritance' as a 50-minute episode instead? Oh, well.
Directing, production design, locations, soundtrack Piddington makes great use of the train location, there are several nice shots of the station and the train in motion (some of which I think we'll see again in a few later episodes). The production design is faultless as always. Of locations to note, there's Du Cane Court, Balham and The Adelphi Building on the Strand, London. The soundtrack is very nice, once again by Christopher Gunning. He released it on the first Poirot album, but it was removed for the re-release. Luckily, it's available on YouTube at the moment.
Actors and characters It's nice to see the series (and Poirot) gradually explore darker territory. I admit I might be reading things into his performance, but Suchet's reaction as Halliday points out Poirot isn't a father so he can't possibly understand what it's like to worry seems to me to hint at the emotional sides of Poirot. Also, the crime itself is displayed in the most graphic way of any of the episodes, I think, both in the flashbacks and in Poirot's retelling of it. Of the guest actors, there are no real standouts. Julian Wadham (Rupert Carrington) is of course a face many will recognise these days, he seems to pop up in nearly every British television series. Alfredo Michelson is over-acting as the Count. I guess it's a difficult role to play convincingly, but still.
This episode was based on the short story 'The Million Dollar Bond Robbery', first published in 1923 in The Sketch. It was adapted for television by Anthony Horowitz and directed by Andrew Grieve.
Script versus short story The original story that served as a basis for this episode is very slight, so it obviously needed some embellishment to work as an adaptation. It is a testament to Horowitz, then, that most additions seem perfectly natural, as if they had been part of the original story in the first place. Not surprising, really, when you take into account that Horowitz went on to write for Midsomer Murders, the brilliant Foyle's War as well as a bunch of other crime series - in addition to novels for young adults, and new Sherlock Holmes novels. A scriptwriter genius in the making, one could perhaps say. Now, back to the adaptation. First, he adds an opening scene in Threadneedle Street (the exact location mentioned in the short story), in which Mr. Shaw is nearly run over by a sports car. Second, Horowitz changes the Olympia into the maiden voyage of the Queen Mary (in keeping with the series' inclusion of real-life 1930s events), and Poirot and Hastings join Ridgeway on the journey. Third, Mr. Shaw and Mr. Vavasour consult Poirot, not Esmee, and they do so before the robbery. Fourth, Mr. Shaw is himself supposed to be travelling with the bonds, but he is almost killed by strychnine poisoning (this is the third episode in a row with a death or near-death from strychnine!). Fifth, Inspector McNeil becomes McNeil, Head of Security at the bank, and Esmee becomes a secretary of Mr. Vavasour (but remains Ridgeway's girlfriend, too). Sixth, a second culprit is introduced; Nurse Long aka Miranda Brooks. She nurses the (apparently) ill Mr. Shaw, but she also drives the sports car, travels on the Queen Mary (instead of Shaw), breaks into the box and throws the package over board. She also serves as a love interest for poor Hastings, but is in fact Shaw's wife-to-be. In the end, it's a habit that blows her cover; she grasps for her nurse uniform watch when Poirot asks for the time. Seventh, Ridgeway is in money trouble from all his gambling (in the short story he has never had debts in his life), thus providing him with a potential motive. Most of Horowitz's changes are admirable. He broadens the list of suspects, creates possible motives and makes use of classic Christie plot elements like strychnine poisoning and the well-used no-one-looks-at-a-servant/nurse/maid-trick.
Directing, production design, locations, soundtrack Grieve's direction is a delight to watch. For instance, in the opening scene at Threadneedle Street station, he is showcasing the routine-like life of bank clerks on the tube (that will eventually become part of the motive - "Prison can't be much worse than 25 years at the London and Scottish Bank"). Moreover, there's a nice shot of the coffee cup on a trolley, indirectly alluding to the sea voyage to come, and a subsequent miniature toy cruise ship on a pond in the park. Also, he makes good use of the newsreel footage of the Queen Mary and the set, almost convincing the viewer that it's the real thing. The production design is, as always, top-notch. I haven't been able to track down any locations for this one, apart from the Threadneedle Street entrance, but I have a feeling that parts of the bank interiors are from the Freemason's Hall in London, a location used for several Poirot episodes. The soundtrack is effective, but not much more. It has not been released.
Actors and characters Thankfully, Horowitz alludes to Poirot's seasickness. Having Poirot on a cruise ship for a crossing as long as this is almost entirely out of character, but he has travelled by boat in previous episodes, so it's passable. He even explains the source of this dislike of the sea; it is apparently a result of the journey from Belgium twenty years ago (love that little reference to Poirot's back story). Miss Lemon is added to the plot, of course, but her role hardly seems intrusive - she remains firmly in the background. Hastings gets to recognise the car that attempts to kill Mr. Shaw (a reference to his car enthusiasm). Of the guest actors, there are no real standouts, but Lizzy McInnerny (Nurse/Brooks) managed to fool me the first time I watched this episode, I seem to recall.
As many of you will know, this week marked the end of the shoot for the final episode of the final series of Agatha Christie's Poirot. If we include the rehearsed reading of Black Coffee, and assume that all the short stories of Labours of Hercules will be referenced in some way, we can conclude that David Suchet has now starred in adaptations of every single Poirot short story, novel and play ever published by Agatha Christie. That is quite an achievement. His last day on set must have been such an emotional moment, just like the end credits of the final episode, Curtain, will certainly be an emotional moment for all us fans out there. I'll offer some more thoughts on the subject once that episode has aired, but until then, suffice to say a big T H A N K Y O U to David Suchet for dedicating such a large part of his career to this funny little Belgian. This has been 25 years of excellence, 25 years of pure perfection.
P.S. The photo I've chosen is from the Facebook page of Greenway Ferry. It was apparently taken shortly after they finished shooting the final scene of Dead Man's Folly. Notice how Zoë Wanamaker is holding David Suchet's hand. It must have been such a poignant day.
The first episode of the third series (excluding the centenary special The Mysterious Affair at Styles), this episode is based on the short story 'How Does Your Garden Grow?', first published in 1935. The story was adapted for television by Andrew Marshall and directed by Brian Farnham.
Script versus short story The adaptation stays more or less true to its source material, but with several embellishments. First, the element of the Soviet Union and Communism (hinted at by Mr. Delafontaine in the short story) is expanded into an entire subplot / red herring in which Katrina has a lover at the Russian Embassy and comes from an old aristocratic family in Russia (she's also a Russian Orthodox by faith). Second, there's an entire subplot on Poirot's purchase of a perfume and the unveiling of a rose bearing his name at the Chelsea Flower Show. The Flower Show also provides the setting for a meeting between Poirot and Miss Barrowby. She hands him a packet of seeds of a rose named 'Catherine the Great', a clue that will later lead Poirot to uncover Katrina's back story and discover the true culprits. Quite a clever addition, actually. Third, there are several scenes in which we are shown the going-ons at the Barrowby household, including the prescription by the doctor, the drinking of Mr. Delafontaine and the crime itself (as recounted by Inspector Sims in the short story). Fourth, Japp and Hastings are added to the story, and Miss Lemon's role is somewhat expanded. Japp partly replaces Inspector Sims (but a significant part of Sims's role is given to the family doctor, called Sims, and the solicitor, in the adaptation). Hastings gets a subplot of his own, recovering from supposed hay fever (later revealed to be an allergic reaction to Poirot's cologne) and searching for a merchant's bill, destroying Miss Lemon's filing system. Miss Lemon gets to investigate together with Poirot, interviewing the maid at the house and visiting the morgue with Japp and Poirot - and of course visit the fishmonger (like in the short story). Fifth, the nursery rhyme is given some more prominence; Miss Lemon notices the unfinished edging of the flower beds and finds a silver bell (seen in use by Miss Barrowby throughout the episode so far) buried there. Finally, there's an expanded denouement, which includes new elements of stock speculation and the fact that Mrs. Delafontaine paid in cash at the fishmonger, as well as the ever-present chase scene. Still, when all the changes are taken into account, they make sense and clarify the plot rather than deviate from its source. Well done.
Directing, production design, locations, soundtrack Brian Farnham makes good use of the many outstanding locations. A list of these would include the Freemason's Hall (here: the Russian Embassy), and the real store G.F. Trumper in Mayfair, where Poirot buys his perfume. See this link for location photos.The extravagant scenes at the Chelsea Flower Show are simply a joy to watch (imagine the number of extras for those scenes alone!). The soundtrack is great, and this one has been released on Gunning's latest CD (titled How Does Your Garden Grow? - one of the few tracks to feature the entire score of an episode).
Actors and characters Marshall has added some nice character development here. For instance, we have Japp attending the flower show - and demonstrating his expert knowledge of flowers (a hint of Christie's character, who enjoys gardening). Also, there's Miss Lemon's comment that she 'used to help in the hospital ward during the war' (I'm not sure if that's from Christie's stories - probably not - but it's a sort-of reference to Christie herself, who worked as a hospital dispenser). Finally, there's Poirot's comment 'One day I hope to retire to grow the vegetable marrows' (which I've sadly had to ignore for my chronology of the episodes). In terms of guest actors, Anne Stallybrass (Mary Delafontaine) really stands out in this one, as does Catherine Russell (Katrina), both conveying the changes their characters go through in appearance and attitude.
Between Series Two and Series Three, the production team decided to tackle Christie's first ever Poirot novel, The Mysterious Affair at Styles, published in 1920, to coincide with the centenary of her birth in September 1990. The screenplay was written by the excellent Clive Exton and the director was Ross Devenish.
Script versus novel Considering the length and complexity of this story, the script stays remarkably true to its source material. A few characters are omitted (Dr Bauerstein, who was merely a subplot or red herring really, and the maid Annie) and certain passages are removed (the extra coffee cup Lawrence is searching for, the letter to Evie from Mrs. Inglethorpe, the visit to the hospital where Cynthia works, the gardeners who witnessed the will etc.). Some passages are shortened down, such as Poirot's initial interviews with the household and the trial of John Cavendish, but the key information is kept intact. Some elements are added, such as the scenes with the group of Belgian refugees Poirot is educating, as well as Hastings's war trauma memories, and the important and explanatory visit to the Institute of Pharmacology. All in all, however, the script is faithful to the novel, probably as faithful as an adaptation can possibly be without recounting every single word.
Directing, production design, locations, soundtrack Ross Devenish's direction is very competent. I particularly enjoyed the way Poirot was introduced on screen, with a close up on his patent leather boots, then moving up his legs to his face - very reminiscent of the first shot of Poirot in the first-ever episode, The Adventure of the Clapham Cook, directed by Edward Bennett. A nice touch! As to the production design, it is wonderful to note the attention to detail in recreating wartime Britain, from the streets of London to the village of Styles St. Mary. The locations for the episode include the beautiful Chavenage House, near Tetbury in Gloucestershire, used as 'Styles Court', a location I sincerely hope they've returned to for the adaptation of Curtain!, as well as the village of Easton Grey, Gloucestershire, doubling as 'Styles St. Mary', and the end scene shot in Lloyd Square, London. See here, here and here for photos. Several pieces from the soundtrack are included on Christopher Gunning's latest CD release, including 'War' (from the opening scene), 'A Country Retreat' (from Hastings's arrival in Styles St. Mary) and 'The Death of Mrs Inglethorpe' (from the death scene, obviously).
Actors and characters It's lovely to see David Suchet transform into the younger Poirot, complete with a hair-piece to make him look younger (they would use the same trick for one later episode, The Chocolate Box), supporting my theory that the television version of Poirot was significantly younger than the book version of Poirot when he arrived in England (see my chronology blog). Suchet gets to display 'the tools of Poirot's profession', a set of objects we will rarely (if ever) see used again in the subsequent episodes. You should also note the added scenes in which Poirot's attention to order and method (e.g. the reordering of the post office groceries, the complaint on the English countryside as opposed to the streets of New York). And of course, there's the famous scenes from the book, i.e. the reordering of the mantelpiece and the building of cards to focus his little grey cells (which we'll see again in later episodes, e.g. The Disappearance of Mr. Davenheim and Three Act Tragedy). As to Hastings, I'm intrigued by the addition of the war trauma (particularly well executed by director Devenish). It adds a depth to Hastings's character which we rarely see. Perhaps one of his final two appearances in the series, The Big Four, apparently set just before the break of the Second World War, and Curtain, set almost immediately after it, will make a reference to his experience of war? That would certainly be an interesting addition. Also, I notice that a) any references to Hastings's previous employment at Lloyds and b) any references to specific years in which Japp and Poirot have collaborated before are excluded in the adaptation. For once, they choose to be vague on facts and character history, and I think it's a wise move.
As to the guest performances, one can clearly see that the actors have so much more to play with in these longer stories. But for me, the standouts are certainly Michael Cronin (Albert Inglethorpe) and Joanna McCallum (Evie Howard), the first managing to convey just the right amount of uneasiness and creepiness, and the latter accurately portraying the character from the book.
This episode was based on the short story 'The Adventure of the Western Star', first published in The Sketch in 1923. The story was adapted for television by Clive Exton and directed by Richard Spence.
Script versus short story The adaptation remains largely faithful to the source material, with some notable exceptions. Exton chooses to make Poirot a big fan of Mary Marvelle (Marie Marvelle here), who is now a Belgian film star. This change is actually quite amusing, even if I find it difficult to believe that Poirot would be 'starstruck'. The interview is moved from Poirot's flat to her hotel, but Lady Yardly's visit is kept almost intact (with Hastings as the interviewer). Also, Exton adds a subplot involving Japp and Scotland Yard, who are trying to catch a diamond collector, Henrik Van Braks, red-handed. Van Braks becomes a potential buyer for Rolf's diamond, with Hoffberg (mentioned in the short story) as an intermediate. Lady Yarldy's confession (hinted at in the short story) is here expanded into a full scene at Whitehaven Mansions. Moreover, Miss Lemon is added, but she gets little to do, apart from showing visitors in and out. In addition, there's a rather nice scene at Poirot's barber. Finally, there's the ever-present chase scene (this time at 'Corydon Airport'), and a dinner between Poirot and Hastings in the final scene. All in all, though, Exton's changes make complete sense and the adaptation works quite well (even with Christie's over-the-top Chinaman stuff).
Directing, production design, locations and soundtrack Spence does a decent job of utilising the locations. The most important locations include Dorney Court, Windsor in Berkshire ('Yardly Chase'), Shoreham Airport ('Croydon Airport', also seen in Death in the Clouds and Lord Edgware Dies) and Widegate St., London E1. See location photos here. The soundtrack works quite well, particularly what seems to be Marie Marvelle's theme (the score is composed by Richard Hewson in Gunning's absence).
Actors and characters The aforementioned scene at Poirot's barber brilliantly conveys his sense of symmetry, insisting that the one sideburn was three millimetre shorter than the other. Also, his love of all things Belgian (which we will see in later episodes as anything from Belgian food to miniatures (The Underdog)). The guest actors are all quite memorable, with the Belgian couple, Gregorie Rolf and Marie Marvelle (played by Rosalind Bennett and Oliver Cotton) as particular standouts. On a side note, I think this is the only episode of the entire series in which Poirot has a conversation in French (apart from a witness in Death in the Clouds).
This episode was based on the short story 'The Kidnapped Prime Minister', first published in The Sketch in 1923. The story was adapted for television by Clive Exton and directed by Andrew Grieve.
Script versus short story Exton makes several significant changes to the story (in addition to the obvious inclusion of Miss Lemon and the expansion of Japp's role). First, the action is moved from the Peace Conference at Versailles around WWI to a disarmament conference in the mid-1930s. The chauffeur's name is changed to Egan (still Irish), and the main culprit has a wife he has recently divorced, but who is later revealed to be in on the crime. The reason for the crime is Irish resentment of Britain; they want Germany to rearm. Second, Poirot and his fellow investigators never leave Britain for France (they get as far as Dover and then return to London). Instead, the search for the local hospital mentioned in the story is expanded. Third, Detective Barnes is replaced by Japp, who is frightened he might lose his job unless Poirot finds the culprits (reminiscent of The Double Clue adaptation). Fourth, a chase scene is added, in which Hastings tries to follow Mrs Daniels to find the Prime Minister. Fifth, Exton incorporates a new clue to the culprits, an address book found in Egan's bedroom, with 'Mayfair 2537', the number of Mr. Daniels, written down under the letter 'X'. Sixth, a subplot concerning Poirot's tailor and the size of Poirot's waist (see also Evil under the Sun) is included. There are several minor changes as well, like the fact that Dodge and Astair meet Poirot at the Foreign Office and not at his flat. Still, the adaptation works quite well and the changes are more or less understandable.
Directing, production design, locations, soundtrack Grieve makes great use of the Whitehall location, as Poirot walks to his appointment with Sir Bernard and Lord Astair (helped by the sound of the Big Ben, of course). There's also some nice opening shots at 'Charing Cross' (a set, probably). Locations used for the episode include St. Margaret's Bay (also used for The Clocks), the Dover Harbour Board Offices, Quilter Street (E1), used for the scenes outside Fingler's, The Foreign Office (obviously) and Ingress Abbey (used as 'Somerscot Hall'). The soundtrack for the episode is very appropriate, with small hints of Irish influences (again, the score is by Fiachra Trench in Gunning's absence.
Actors and characters In terms of character development, there's a nice reference to Poirot's seasickness (which will be referred to in The Million Dollar Bond Robbery - and possibly The Big Four?), and Hastings gets to drive his Lagonda. In terms of guest actors, they all do a decent job of conveying their characters.
This episode was based on the short story 'The Adventure of the Cheap Flat', first published in The Sketch in 1923. The story was adapted for television by Russell Murray and directed by Richard Spence.
Script versus short story The adaptation is more or less faithful to its source material, but there are several important additions and expansions of plot lines. First, there's the opening scene in which Poirot, Japp and Hastings are watching G Men (1935) in a cinema, a typical American gangster film. In a way, the film metaphor of the plot is sort of implied by Poirot in the short story, remarking to Hastings that the details of the case will remind Hastings of his "favourite cinema". The scene is also reminiscent of the magician's show the three attended at the opening of The Disappearance of Mr Davenheim. Second, the precense of the the FBI agent (Burt) is significantly expanded, and he is portrayed as a typical caricature of an American who is completely uninterested in Poirot's talent. Third, Miss Lemon is added to the story (like in most previous episodes), and she gets to investigate by posing as a journalist of the Ladies' Companion (a truly delightful scene to watch). Fourth, the storyline of Elsa Hardt (called Elsa Hart in the adaptation) is somewhat changed. Her real name is Carla Romero in this one, and she has fled America with her real (?) husband. She has taken up work as a nightclub singer (the club has a cat as a logo - a reference to the cat in the short story) and is using her pseudonym Elsa Hart. Fifth, there's a rather dodgy manager of the night club added to the mix. Of minor changes to note, there's the fact that Stella Robinson doesn't look like Carla Romero (that plot point was too much of a coincidence to be believable anyway), and Poirot and Hastings break into the Robinsons' flat while they are home (Hastings distracts the couple, Poirot tampers with the lock) and don't wait for the mafia guy in their flat but enter through the dustbin stairs. All in all, however, the changes made to the story make complete sense and the result is a rather enjoyable episode.
Directing, production design, locations, soundtrack Spence does a decent job of displaying the spy angle of the story, with several shots out of windows, behind doors etc. As to sets, there's a clever recreation of a New York night club. The set seems to be deliberately artificial, with the New York skyline in the background clearly a painting of sorts, and the director underlines the fact through a camera shot that glides through the outer wall of the nightclub. The building used as the block with the cheap flat is in reality an address in Duchess of Bedford Walk in Kensington. The soundtrack for this episode (and in fact most of the Series Two episodes, together with Fiachra Trench) is by Richard Hewson (who stepped in as Gunning was unavailable) and has not been released, as far as I know.
Actors and characters It's nice to see Miss Lemon as a sleuth again. Personally, at least, I really think the expansion of her character in the series has worked brilliantly. Normally, the tasks she is given by Poirot seem just natural for her to investigate (addresses, names, dates etc). Perfect. The guest actors do a nice job of portraying their characters. Samantha Bond (Stella Robinson) is a standout, and that's not just because she later became an example of all the Poirot actors who have achieved great fame. American actor William Hootkins (Federal Agent Burt) is also quite good, almost managing to create a believeable character out of a stereotype.
This episode was based on the short story 'Double Sin', first published in 1928. It was adapted for television by Clive Exton and directed by Richard Spence.
Script versus short story Exton stays true to the essentials of the plot, and much of the dialogue is kept intact. However, there are certain extensive additions. First, there's the suggestion that Poirot has decided to retire (like so many times before). The result this time around is that Hastings has to investigate the case more or less on his own with the help of the local police - a rather unbelievable plot, if you ask me. Why would he be allowed to tag along on the investigation? He is not even "the great detective". Anyway. It's also Poirot, not Hastings, who suggests that they should go on holiday to reinvigorate Hastings's little grey cells! Second, there are a couple of added sub plots, including the search for Miss Lemon's missing key (aided by Mr. Dicker), a lecture by Japp, secretly attended by Poirot, and an entire sub-story for the only 'real' suspect in this story, Norton Kane. Third, the setting is moved to the Lake District (featured briefly in The Adventure of the Clapham Cook and later in Dumb Witness), which also leads to the inclusion of a ferryman who witnessed the arrival of the culprit to Baker Wood's hotel. Fourth, the reason for the bus trip, a request from Poirot's long-time friend Joseph Arons, is removed, and instead Hastings is the one to suggest a sightseeing trip. All in all, though, Exton's adaptation is a faithful retelling with, for the most part, understandable changes.
Directing, production design, locations, soundtrack Director Richard Spence makes good use of the location, particularly in some very scenic shots of the bus ride and the magnificent Art Deco hotel. There's also a lovely surrealist dream sequence in which Poirot and Hastings urge Miss Lemon to use her little grey cells to recover her keys. (Re-watching it, I was actually reminded of the somewhat surreal sequence in the adaptation of Three Act Tragedy in which Poirot is thinking in front of a house of cards). The production design is faultless, particularly in its recreation of the hotel dining area, which this website suggests was done especially for the film (on location), complete with a wall mural. The locations used for the episode include Holland Park (the opening scene), Midland Hotel in Morecambe, Lancashire(now converted into flats), several buildings in Kirkby Lonsdale, Cumbria, the area of Middleton, Cumbria, and Wray Caslte, Cumbria. The soundtrack is quite effective, once again bringing to mind the pastoral elements of the English countryside (like in The Adventure of the Clapham Cook and The Mysterious Affair at Styles). This score is by Richard Hewson, who stepped in for Gunning in a couple of the Series Two episodes.
Actors and characters To see Poirot in retirement mode is quite nice, but of course completely absurd, considering the setting of the episode. In any case, his retirement conversation (and his refusal to take the case) seems to be somewhat reminiscent of the scene that was deleted from the adaptation of Peril at End House, so I can easily forgive Exton for including it. He knows his Christie. It's also nice to see the addition of Mr. Dicker, even if he isn't a Christie creation. This creates a sense of continuity between the separate series. Also, there's a lovely blink-and-you'll-miss-it reference to a photo of Poirot from his christening (!) discussed by Hastings and Miss Lemon - a nice way to display the intimate friendship between the three main characters. Similarly, the inclusion of Japp's lecture brings to mind a scene in Peril at End House that was not included in the adaptation, in which Japp admits having let Poirot in on quite a few cases in the past. It's also nice to see the rivalry gradually turning into admiration and friendship (although I disagree with certain fans who suggest that Japp somehow despised Poirot in the first couple of episodes. As we shall see in the adaptation of Styles, Japp's admiration for Poirot and his methods has been there since the very first case they did together. Finally, there's a nice little adaptation joke added to the story, as Poirot asks Hastings why he has never attempted to grow a moustache. As Christie readers will know, Hastings does in fact have a moustache in Christie's book, but this was dropped when they started making the television series (probably because it would look silly with two mustachioed leads!). That decision was probably made by Exton himself (along with Brian Eastman), so it's nice to see him include a (very oblique) reference to it in an adaptation. As to guest actors, there are several nice performances here, but no one really stands out, possibly apart from the delightful caricatures of village bobbies heading the investigation, played by David Hargreaves and Gerald Horan.
This episode was based on the short story 'The Disappearance of Mr. Davenheim', first published in The Sketch in 1923 (like the previous two episodes). The screenplay was written by David Renwick and the director was Andrew Grieve.
Script versus short story The script stays more or less true to the short story. Obviously, most of Japp's retelling of the case is dramatised, but apart from that the structure is kept more or less intact. However, there are several added scenes and plot elements. First, there's an opening scene at a music hall in which Poirot, Hastings and Japp attends a magician's show (and Poirot reveals the trick!), which develops into a subplot in which Poirot learns magic tricks from "The Boy's Book of Conjouring" (slightly out of character, but it works, and it's no surprise that someone as meticulous as Poirot succeeds). Second, there are several scenes at a race course (derived, in part, from a reference to a 'race meeting at Entfield' in the short story), in which Hastings gets to display his affection for Italian race cars (building on the car interest from Series One). Third, there's the by now infamous "Parrot for Mr Poyrott" scene (which is amusing, but I've always considered that somewhat out of tune with Christie's stories). Fourth, Miss Lemon is added to the story (but she doesn't get much to do, apart from watching Poirot do his magic tricks and serve him his tisane). Fifth, Hastings gets to investigate on behalf of Poirot (resulting in a series of funny scenes between Fraser and Jackson), particularly a scene in which he attempts to break into the safe (on Poirot's instructions - somewhat reminiscent of a scene in Murder in Mesopotamia, in which Poirot tests the sound between two rooms). Sixth, two "clues" are added to the mix; the contents of Davenheim's bathroom cabinet (razors and shaving foam, evidence of his transformation), and Tchaikovsky's '1812 Overture' (used to camouflage the break-in of the safe). All in all, though, the adaptation works and stays fairly true to its source material, apart from possibly one too many comic relief scenes (for my taste, at least). Directing, production design, locations, soundtrack Andrew Grieve's direction is a delight to watch. There are several clever shots in this one. He utilises the beautiful location (the Davenheim house, actually 'Joldwynds' in Surrey, a house that would be used for The Theft of the Royal Ruby too). For instance, there's a wonderful shot from inside the house in which Mrs. Davenheim looks out of the main window and sees her husband disappear in the fog. Also, there's a nice shift between scenes when Lowen adjusts his moustache and Poirot adjusts his in Whitehaven. Other locations include Brooklands Museum (Surrey), which was used for the race course scene. The ghost-like soundtrack is perfect for the story (again, we have Fiachra Trench at work), and whoever came up with the idea of using the '1812 Overture' as a plot point deserves a pat on the back.
Actors and characters It's nice to see the friendship between Poirot, Japp and Hastings develop over the course of this series. They attend shows together and have dinner at Whitehaven. Suchet gets quite a lot to play with (apparently, he did all the magic tricks himself). The house of cards is a nice reference to The Mysterious Affair at Styles and Three Act Tragedy. Of the guest actors, Mel Martin and Kenneth Colley, who play Mrs. and Mr. Davenheim, stand out. Colley almost manages to pull off the important disguise trick.
This episode was based on the short story 'The Cornish Mystery', first published in The Sketch in 1923 (in fact, it was published directly after the short story that formed the previous episode of Series Two, The Lost Mine). The story was adapted for television by Clive Exton and directed by Edward Bennett.
Script versus short story Some elements are added to the original story, but for the most part, Exton stays true to the words of Agatha Christie and creates a faithful adaptation. The additions include the introduction of Miss Lemon (who tries to persuade Mrs Pengelley to come in) and Japp (who investigates the murder), a fitting subplot between Poirot and Hastings on pancreas exercises, digestive systems and Oriental food (picking up the thread from the previous episode perhaps?), a short visit to the dentist office (implied in the story), and a scene in which Miss Lemon and Hastings attempt Chinese fortune telling. Some plot elements are visualised quite well, like the funeral wake, the exhumation and the court proceedings. There's also a slight change in the denuoument scene, in which Hastings get to draw attention to the two men outside the window (a task assigned to Poirot in the story), and Poirot doesn't give Radnor a 24 hour start after all.
Directing, production design, locations, soundtrack Bennett competently utilises the location (Dunster in West Somerset, see photos here and here). There's also a nice overhead shot of the three umbrellas as Poirot, Hastings and Mrs. Pengelley meet in a rainy park. The attention to detail is incredible. Peter Haining describes how the area was dressed for the shoot: 'The high street was closed off for a weekend, the numerous gift shops camouflaged and all modern signs removed. Lace curtains were even specially hung in the windows of several shops to create the illusion of private houses. (...) In addition, forty local people found themselves work as extras for the crowd scenes' (p. 51). The soundtrack is quite effective (again, I think we have Fiachra Trench at work), but it has not been released on CD.
Actors and characters It's nice to see Poiot upset again (note: for anyone who complains that he was never upset until the last couple of series: you should have a second look at some of these episodes!), lamenting the unnecessary loss of Mrs Pengelley and the imbecility of his mistake. There's also his anger towards the doctor. Hugh Fraser once again gets to display Hastings's weakness when faced with the opposite sex. Of the guest actors, Amanda Walker (Mrs. Pengelley), John Bowler (Jacob Radnor) and Derek Benfield (Dr. Adams) all portray their characters effectively.
This episode was based on the short story 'The Lost Mine', first published in The Sketch in 1923. The screenplay is by Michael Baker and David Renwick, and the director was Edward Bennett
Script versus short story The scriptwriters make some rather extensive additions and changes to the plot, which is fairly understandable, considering the fact that the story itself is very thin. Most importantly, the plot is shifted from past to present tense. Second, Japp and Sgt. Jameson from Murder in the Mews (replacing Inspector Miller from the short story), and Miss Lemon are added to the story. Third, several plot points are added, including the collapse of the Imperial Trust, Miss Lemon's stock speculation (!), a clue of discoloured cigarettes at the hotel (due to the blackened teeth), an entire subplot concerning Reginald Dyer (who is involved in some shady business in the short story but here becomes a slippery crook), an expanded back story for Lester (including a distressed wife), modern police work at Scotland Yard (see also the adaptation of Four and Twenty Blackbirds), a chase scene (of course), Poirot's bank account (which seems to be overdrawn, but is later revealed to miss a bill from Poirot's 'naval secrets case' - a reference to the unfilmed story "The Submarine Plans" perhaps?), and a game of Monopoly between Hastings and Poirot (a running joke throughout the episode). Fourth, Lester becomes an investment adviser (as opposed to a 'young bank clerk'), Fifth, Japp discovers the opium den through one of Dyer's contacts, and finds both Dyer and Lester down there. All in all, the story is changed almost beyond recognition. That, however, is not necessarily a bad thing. After all, the original story really only served one purpose, that is for Poirot to explain that Hastings shouldn't make speculative investments, so there was definitely a need for a more extensive plot to make it work as an adaptation. To a certain extent the changes work - and even make sense - so I suppose we should consider this adaptation a moderate success.
Directing, production design, locations, soundtrack Bennett makes excellent use of the locations for this episode, particularly the recreated area of Chinatown. There's also some rather nice scenes at the bank. In Peter Haining's book on the series, Bennett describes the choice of location. 'We wanted an authentic look, and the Civic Centre (in Essex) is in very good condition. The interiors we used were just what we needed and very official looking, too. The council offices made for plush banker's rooms and the whole effect was Thirties to a tee' (p. 49). Columbia Road and Ezra Street in Bethnal Green became a replica of Chinatown. Once again, the attention to detail is extraordinary, and the production designers have done such a good job. For location photos, see this link. The soundtrack is good and somewhat oriental in tone. I think it was done by Fiachra Trench, who stepped in for Gunning through most of Series Two. One of the scores, for the chase scene, will be reused in The Kidnapped Prime Minister.
Characters and actors This episode introduces Hastings's hunch for bad investments (giving the wrong advice to Miss Lemon), a character trait we will see in several future episodes (see, for instance, Lord Edgware Dies). There aren't really any stand-outs as far as guest actors are concerned. Anthony Bate does a decent job at portraying Lord Pearson, but none of the performances are that memorable, really.
This adaptation was based on Christie's short story 'The Veiled Lady', first published in 1923. The screenplay was written by Clive Exton, and the director was Edward Bennett.
Script versus short story The adaptation stays largely faithful to its source material, since most of the added scenes are extracted from tiny references in the short story. There is, for instance, the opening scene displaying the Bond Street (here: Burlington Arcade) robbery and the funny scene with Poirot dressed up as a locksmith. Some sequences have changed location, such as the first meeting between 'Lady Millicent', Poirot and Hastings (now in a lavish hotel), the denouement (now in the Natural History Museum). Some elements are added, including the presence of Miss Lemon (who doesn't get much to do) and Japp (who gets to bail Poirot out of prison (!) and chase the culprits (yes, there's an added chase scene as usual, but this one makes excellent use of the location!). My main criticism of the script is that a large section of Poirot's explanation is cut. How did he know that Lady Millicent was not Lady Millicent? How did the culprits know about the hidden Chinese box and the letter? All of this is lost in the adaptation and could actually leave viewers confused as to what had actually occurred.
Directing, production design, locations, soundtrack Edward Bennett does a competent job of showcasing the locations. This episode is yet another example of the extravagance of the production team. In scenes that could easily have been depicted in low-key sets, they go for large hotel lobbies (a.k.a. Senate House, London) and famous places like the Burlington Arcade and the Natural History Museum (see Joan Street's website for photos). The soundtrack for this one is magnificent (again, by Fiachra Trench), and I really wish it had been released on CD.
Actors and characters Poirot's wonderful disguise is quite out-of-character in a way, but at the same time, he is known to resort to made-up identities, and the whole locksmith business does sort of take place in the short story (he doesn't seem to be disguised there, but such an addition makes complete sense).
Of the guest actors, Frances Barber (Lady Millicent) really stands out with an attention-capturing performance, but so does Carole Hayman (Mrs Godber) as the housekeeper (who doesn't quite welcome Poirot 'with enthusiasm', as in the short story!)
There's a wonderful website called Art of the Title which features articles on and interviews with people who have designed title sequences for film and television. A couple of months ago, it was Agatha Christie's Poirot's turn and title designer Pat Gavin. Do read the interview, it's such an interesting look at an aspect of the series that rarely gets mentioned. Here are some extracts from the article:
'It was my job to set the tone for the show. The idea for the titles was a portrait of a man and his time. The late Mike Oxley — or “OXO” as we called him — was the production designer and we put our heads together and found we were both thinking about Art Deco as a stylistic theme. I had some old architectural magazines with all those wonderful buildings of the ’20s and ’30s, with architectural plans, and that was my original inspiration. I wanted to make it all look exactly like architectural photography from that time. They had a wonderful atmosphere. But I wasn’t able to quite achieve that look, partly due to budget and partly to not having a clue! I had to find another way, so it became Art Deco–Cubism. I liked the idea of the fractured, multifaceted Cubist style because it reminded me of a puzzle and this is of course what Poirot does — he solves puzzles. Making Poirot himself a bit of a puzzle seemed to describe the man and what he does. Brian Eastman, the producer, and David Suchet, the actor who played Poirot — brilliantly, I might add — both agreed and gave me the green light. David was very helpful during the filming. He was a joy to direct.
For the music, I spent time with the composer, Chris Gunning, who was taking his ideas from Rachmaninov and composers working in the ’20s and ’30s and I showed him my thoughts. For the Cassandre-style trains, boats, and planes with Poirot’s name formed by the wheels, I gave him the storyboard plus some visuals and he worked closely to them. He was great to work with, very responsive. He gave me a track that fit like a glove but also had its own independent voice. I never like to force composers to bend to the visuals because their art is more temporal than the visuals. Like, how long does a painting last? But music has natural cadences and rhythms that can drive a visual and give it a story, bringing it to a satisfying conclusion. In effect, it is the script.'
As I said, this is such a fascinating interview, so do have a look at it if you are interested in this sort of thing. In addition to the titles he discusses here, I am fairly certain he also did the short version of it that appears at the beginning of some of the feature-length episodes pre-2003 (see below): P.S. There's a lovely reference to the title in the adaptation of The Murder of Roger Ackroyd, in which Poirot - at the beginning of the episode - enters a dark bank vault. As the lights appear, one by one, an eagle-eyed viewer would notice that the lamps in the ceiling are very similar to the ones in the original title sequence. In the final scene of the same episode, as Poirot leaves the dark room, his pose is almost the same as in the end of the title sequence (see below). What a wonderful way for Poirot to return to the screen after a five-year hiatus!
TITLES POST-2003: When the series returned in 2003 (without the involvement of Pat Gavin), there seems to have been some confusion as to what the title sequence would be (i.e. how the title of the episode should be shown). For Death on the Nile the team chose a strange red thing (possibly to give it that 'feature-length-film' feel?). For Five Little Pigs, The Hollow and Sad Cypress, they went for a slightly updated version of the white art deco font from the first eight series (adjusted to the colour of the opening scenes, see examples below). Since Series Ten, however, the team have stuck to the updated white font, apart from the adaptation of Murder on the Orient Express, in which they went for an entirely different font altogether (which in a way makes sense if they, like with Death on the Nile, the other really famous story, wanted to create a big-screen feel (as far as way from 'television series' as possible).
P.S. I personally think the opening sequence for Five Little Pigs is the best of the post-2003 titles. Beautifully shot, with fantastic colours and Gunning's brilliant score.
Agatha Christie's novel Peril at End House, published in the UK in 1932, became the first feature-length episode of the series, as well as the first episode of the second series (In fact, the episode has frequently been split into two, because the running time amounts to about 2x50 min). The story was adapted for television by Clive Exton and the director was Renny Rye.
Script versus novel The adaptation really stays remarkably close to its source material, especially considering the fact that this is not just a short story but a full-length novel. Exton makes only minor changes. First, all references to Hastings's Argentinean farm, Poirot's retirement (and declining fame) and Poirot's investigation on the Blue Train have obviously been removed, since these events still hadn't occurred in the television series. Second, Miss Lemon is added to the investigation (she investigates the doctor in Harley Street and very sensibly takes Hastings's place in the seance), and Japp's role is somewhat expanded (he is present in the novel, but here he becomes the investigating officer, replacing Colonel Weston. Also, Hastings gets to visit Seton's solicitor in London on his own. Third, certain plot elements are dropped, like the red herring of Lazarus's offer for Nick's painting, Poirot's A-J list of suspects, Maggie Buckley's letter to her parents and the face (later revealed to belong to Freddie's husband) outside the hotel window. Neither of these clues are essential to the plot (or the reveal), so it makes sense to remove them - probably because of time constraints. Finally, Hastings and Miss Lemon are not told that Nick is still alive (which makes sense - not just because the viewer would be just as shocked as the suspects that she is - but also because Hastings would never be able to keep a secret, as Poirot has pointed out more than once). All in all, this is a wonderfully crafted adaptation that manages to stay true to the source material, and possibly even improving on it in certain places.
Directing, production design, locations, soundtrack Renny Rye makes excellent use of the location - there's an added opening scene with a plane approaching the coast (a nice way to include the novel's opening remarks by Hastings on how beautiful the Cornish coast is). The production design in this episode is also great, with a exquisite "Majestic Hotel" set and some beautiful seaside locations. The episode was shot in Salcombe, South Devon, and Salcombe Yacht Club doubled as the nursing home (see link). Moult House, near South Sands, in South Devon, became "End House", and the end scene was shot at the beach. Finally, Kingswear Railway Station became "St. Looe Train Station" (see link). The soundtrack to the episode is mostly appropriate, but it has sadly not been released. (The score was composed by Fiachra Trench, who stepped in through most of Series Two as Gunning was unavailable).
Actors and characters In terms of character development, Hastings gets to display his love of cars and golf once more. Poirot smokes his Russian cigarettes again, we get to know about the necessity of eggs of exactly the same size (referred to in the novel in a conversation with Nick Buckley), and he gets to sit in his room and think. Miss Lemon gets to use her detective skills again - and we see a hint of her interest in the occult (even if it's imposed on her by Poirot).
There are so many great performances in such a long film, but obviously, Polly Walker (Nick Buckley) is the one that really stands out. The contrast between the charming girl we encounter in the beginning of the episode and the angry and downright evil woman we see in the end scenes is very well done!
We have now come to the final episode of the first series. This was based on the short story 'The Dream', first published in the UK in 1938. The screenplay is by Clive Exton and the director is Edward Bennett (so we come full circle from the first ever episode).
Script versus short story The script stays remarkably close to its source material, which is hardly surprising given the fact that Exton adapted it (and the fact that the short story is itself an excellent one, with little need for alterations). The few additions include an opening sequence at Farley's factory, in which a new extension is opened, the introduction of Miss Lemon, Captain Hastings and Chief Inspector Japp (unsurprisingly). Exton makes a few sensible additions to the solution, too, including a massive wall outside the office windows (no witnesses), Farley checking up on his employees (a much better reason for coming to the window than in the short story), and a subplot for Miss Lemon (desperately asking Poirot for a new type writer - and providing Poirot with the vital clue of the window).
The introduction of the regular cast mostly makes sense here. Inspector Japp simply replaces the short story's Inspector Bartlett, Hastings gets very little to do anyway (he reads Poirot the letter from Farley, follows him to the factory - but isn't allowed to enter - demonstrates the murder in the denouement scene and takes on one of these ridiculous chase scenes (really, why do they have to add those all the time? I realise it increases tension somewhat, but still!). Miss Lemon would be the one to receive Farley's letter, so the inclusion of her character does make sense. On a side note, the doctor in the case, Dr. Stillingfleet, became a regular in Christie's stories, but he did not appear again in the television series.
All in all, the script is an excellent achievement, staying true to Christie while making sensible and small alterations. Possibly the best episode in this series (plot-wise, that is).
Directing, production design, locations and soundtrack Bennett makes excellent use of the magnificent location and sets. I particularly like the outside shots of the factory in the denouement scene and the sweeping crane shot from Miss Lemon's window in Whitehaven to the street level (which must have been shot while they still had access to the entire building). The location used for the factory is the Hoover building in Perivale, Middlesex (which was also used as the film studio in The King of Clubs). Gunning's soundtrack (and the orchestra in the opening scene, in which he himself features!) is good, but not as good as some of his more memorable scores.
Actors and characters (Miss Lemon mentions her magnetism in this one - a sign of the interest TV-Lemon has in alternative medicine, the occult and the mythological). The standouts here are Alan Howard (who brilliantly portrays both Cornworthy and Mr. Farley!) and a young Joely Richardson (as Joanna Farley).
The short story 'The King of Clubs' was first published in the UK in 1938. The adaptation, scripted by Michael Baker with Clive Exton as a script consultant, and directed by Renny Rye, became the next-to-last episode of the first series.
Script versus short story Some changes have been made on the journey from short story to film. Most importantly, the 'impressario' Henry Reedburn becomes the owner and producer of a 1930s film studio, and the 'dancer' Valerie St. Clair becomes his leading actress. A director called 'Bunny' is added to the mix, and he's an old friend of Hastings's, so Poirot and Hastings visit the film set of the latest picture. Also, there's an older actor struggling to adjust to the era of the 'talkies' added to increase the list of suspects once the murder is committed. Prince Paul is here an old acquaintance of Poirot, who has helped his family in the past. He also funds most of the film Valerie stars in (which is why he's at the set on the day of their visit). Consequently, instead of asking Poirot for a consultation, he calls his old friend up at night, asking him to look into the business. Chief Inspector Japp is also introduced, having been called out to a report of "disturbance" at Mr. Reedburn's house (would a Chief Inspector be called out to such a minor affair? Probably not). Finally, a group of gypsies in the neighbourhood of Mr. Reedburn are included, a group that Reedburn has been trying to get rid of (again, increasing the number of suspects). Certain parts have been moved around a bit, but apart from the above changes, the adaptation stays true to its source material. One insignificant change that puzzles me is the fact that Poirot seems to get access to the scene of the crime both without Japp's help and the help of Paul (whose name he has promised to keep out of the business to avoid scandal). I just find it unlikely that he would be let in to these houses, even if he introduced himself as the great detective, acting in the interests of St. Clair.
The ending (both in the short story and the adaptation) has puzzled many Poirot fans. It's one of the few instances in which Poirot lets the culprits go. Though not as serious as murder, since this is essentially an accident, it's still difficult to understand why he would let them get away with it - when he's so hard on other culprits. Oh well, we can't really blame the series for that, though, since this is entirely Christie's choice.
Directing, production design, locations and soundtrack Renny Rye directs this tale most competently, and he makes excellent use of the wonderful sets. Also, the sequences from the mock-1930s-film seem highly believable. I'm sure I could have been fooled if I saw that outside the context of the adaptation! The main locations here are a section of the Hoover building in Perivale, Middlesex (doubling as Parade film studios here - and as Farley's factory in The Dream!), and High & Over in Amersham, Buckinghamshire (doubling as Mr. Reedburn's house). See Joan Street's website for photos. The soundtrack is by Christopher Gunning, but it's not one of his most memorable.
Actors and characters There isn't much character development for our main stars in this one. Hastings gets to comment on a car (owned by his friend Bunny - I find it interesting how many friends they seem to have added who could believably have been in the army with Hastings), and we get to know that Poirot has important friends and connections (but we already knew that, really). The main standout of the guest actors is Niamh Cusack as Valerie St. Clair. She certainly fills the role of a screen celebrity.
'The Submarine Plans', a short story published in 1923, was later expanded by Christie into the story 'The Incredible Theft', first published in the UK in 1937. It was the latter short story that was adapted for the first series of Agatha Christie's Poirot. The screenplay was jointly written by David Reid and Clive Exton. The director was Edward Bennett.
Script versus short story The script stays more or less true to one of Christie's longest short stories, with certain important additions and changes. First, in terms of characters, Mayfield has a wife in this adaptation, Lady Mayfield, who only calls herself 'Lady' because her father was an earl (Mayfield is not a Lord in this adaptation, he is simply credited as 'Tommy Mayfield' (changed from Charles in the short story). Mrs. Macatta, M.P. is deleted here, which is hardly surprising considering the small role she has in the source material (and, in any case, Poirot and Lady Mayfield fill out her absence, in a way). Sir George Carrington seems to have been changed from an Air Marshal to a senior civil servant of some kind, as far as I can make out. Moreover, Poirot's little family is added (Hastings, Japp, Lemon). The addition of Hastings makes sense, in a way, since he was in the the first version of the short story ('The Submarine Plans'). Miss Lemon gets to take a telephone call from Lady Mayfield, which makes sort of sense. Japp has been asked by Carrington to stay at the local pub, which I guess is almost believable. Also, the whole incident with Mrs. Vanderlyn's maid, Carlile and Reggie Carrington has been excluded, which I must admit is difficult to understand. Yes, the whole thing was a bit thin, but at least it gave time for someone to enter the office and steal the plans, theoretically speaking. In the adaptation, Carlile is adamant that he never left the room, which makes it a lot more unbelievable than anyone could have taken the plans...
In a way, I've already touched upon the main changes. First, we have an opening sequence with a fighter plane (looking suspiciously like a Spitfire), and a conversation between Mayfield and Carrington (parts of which took place after dinner in the source material). Second, there's a scene in which Poirot is polishing his patent leather boots and instructing Hastings on the subject of women (apparently, Hastings is seeing this young 'student of architecture'!). Third, there's the anonymous woman asking for Poirot (and angering Miss Lemon and her filing system), who after a meeting with Poirot reveals herself as Lady Mayfield. Exactly how she then manages to get him to dinner on the night the plans are stolen, I don't quite understand. Supposedly, he is her guest at dinner; 'the famous detective' does, after all, sometimes accept dinner invitations. It certainly wouldn't make sense for him to be invited by the Mayfields in case Mayfield's plan goes wrong. Finally, there's the added police involvement, which is sort of out of place (considering they were so anxious to avoid a scandal), but at the same time highly necessary (why else could they demand to search Mrs. Vanderlyn?). The police involvement also allows for a search scene in which Japp is fascinated by Mrs. Vanderlyn's silhouette in the frosty glass of a door (she is descibed as having a 'seductive kind of beauty' in the short story). There's also a humorous subplot of Hastings and Japp sharing a bed at the local pub (!) and a rather ridiculous chase scene with Poirot and Hastings following Mrs. Vanderlyn in a police car. Largely, however, the changes work, and the essentials of the story are kept intact. Directing, production design, locations, soundtrack Bennett's direction is competent and suits the story well. He is helped by some nice locations, for instance the vintage plane in the opening scene and the Penguin Pool of the London Zoo (see Joan Street's location site). Other locations include a private country house in Surrey doubling as the Mayfield residence and the area around Tilford providing country roads for the chase scene (see the location site for photos). The soundtrack for this episode is quite memorable, particularly what seems to be Mrs. Vanderlyn's theme (sadly not released by Gunning). The score from The Adventure of the Clapham Cook, 'To the Lakes', released on CD, here makes a reappearance for the country house setting.
Actors and characters Poirot (or rather, David Suchet) gets to demonstrate the meticulous care he invests in his wardrobe (as he did in the first ever episode and will do in future episodes). Miss Lemon's filing system (mentioned in The Adventure of Johnny Waverly) gets a reference, and Hastings gets to help a police constable with a car and drive a police car in the car chase (once again demonstrating his love for and interest in cars).
The guest actors all do a nice job at portraying the different characters, but obviously, Carmen Du Sautoy as Mrs. Vanderlyn, is the one you will really remember, although John Stride and Ciaran Madden (playing the Mayfields) stand out as well.
