Poirot Project: The Yellow Iris (review)

This post is part of my 2016 2016-17 2016-19 Poirot Project. You can read the full story of why I’m doing this in my Introduction post. The previous post was a review of ‘The Underdog’.

Beware: Here be Spoilers

The third episode of the fifth series of Agatha Christie’s Poirot – ‘The Yellow Iris’ – was first broadcast on 31st January 1993. It was based on the short story ‘Yellow Iris’ (aka ‘The Case of the Yellow Iris’), which was first published in the Strand in 1937. Christie’s original short story has Poirot flying solo, as there are no recurring characters (not even George) in this one.

I loved this episode when I first saw it. When I come to talk about the adaptation, I’ll try and put my finger on what it was that intrigued me so much. But first, I have to say something about Christie’s story – and its successor.

‘Yellow Iris’ begins with Poirot sitting home alone, admiring his electric radiator: ‘Its neat arrangement of red hot bars pleased his orderly mind.’ It’s clear that Hercule is a teeny bit bored tonight. When the phone goes at half eleven, he gets a bit excited and fondly imagines it might be some mad case that only he can solve:

‘“And it might,” he murmured to himself with a whimsical smile, “be a millionaire newspaper proprietor, found dead in the library of his country house, with a spotted orchid clasped in his left hand and a page torn from a cookbook pinned to his breast.”’

(This jokey idea for a case seems to ring a bell with me… I don’t know if it’s an allusion to an actual story, or if it crops up in the series as one of Ariadne Oliver’s plots. If you know why it seems familiar, do let me know in the comments.)

The phone call, though, is even more cryptic. A woman’s voice – ‘with a kind of desperate urgency about it’ – tells Poirot that she’s in danger, and asks him to go to the Jardin des Cygnes immediately. He is to find the table with the yellow irises. Poirot is intrigued, and he hurries along to the fancy French restaurant (which is owned by a man named ‘fat Luigi’).

The table with yellow irises has been booked by Barton Russell, a wealthy American, who has gathered a motley crew of friends around him for the evening: Pauline Weatherby (Russell’s sister-in-law), Anthony Chapell, Stephen Carter (a man is diplomatic service known as ‘Silent Stephen’) and Lola Valdez (a South American dancer). As it happens, Poirot has a prior acquaintance with Tony Chapell, and so he manages to get himself invited to the table. No one admits to being the mystery caller, and the party speculate as to what the great detective might be doing at the Jardin des Cygnes:

‘“He’s got an appointment with a body, I believe, or is it an absconding financier, or the Rajah of Borrioboolagah’s great ruby? […] The stolen plans must be found or war will be declared tomorrow!”’

(I know why these jokes all sound familiar – they all have echoes of actual cases Poirot has worked. The ‘appointment with a body’ could be anything, but the ‘absconding financier’ sounds like ‘The Disappearance of Mr Davenheim’, the ‘Rajah of Borrioboolagah’s great ruby’ could be ‘The Theft of the Royal Ruby’, and the final joke evokes ‘The Incredible Theft’.)

Poirot demurs and pretends to just be out for a standard night on the tiles, and the party open up and tell him what they’re doing at the Jardin des Cygnes.

Four years earlier, Barton Russell’s wife Iris died at a party in New York attended by the same guests. Although a verdict of suicide was returned, Russell believes it was murder. He has gathered the suspects together that night in order to uncover the ‘truth’.

Iris’s death occurred during a cabaret performance. The lights went down as the singer took the stage, and when they came up again Iris was slumped dead on the table. A packet of potassium cyanide was found in her handbag. Russell is determined to recreate the events of that night, and so after explaining the circumstances to Poirot, he hurries off to make an arrangement with the band.

The lights go down, and a singer takes the stage to perform the same song as that fateful night four years ago. When the song ends, Pauline drops down dead.

The story is quite a simple one and the puzzle has an elegance to it – Poirot is able to solve it without even leaving the restaurant. In fact, Pauline isn’t dead. The little Belgian warned her not to drink any champagne, but to simply pretend. He then reveals that it is Pauline’s brother-in-law himself who is responsible. Under the pretence of speaking to the band, Russell disguised himself as a waiter, topped up glasses at the table, and sneaked cyanide into Pauline’s glass. Since Iris’s death, Russell had been Pauline’s guardian, and Poirot surmises that the man had been dipping into her inheritance. He couldn’t allow her to reach her majority and uncover his embezzlement, and so he sets up the dinner at the restaurant to get rid of the problem. Poirot is unable to say for sure whether Russell killed Iris four years ago, but he knows that it was Pauline who telephoned and summoned him to the restaurant.

With that, Russell snarls a lot, Pauline decides not to press charges, and Poirot has a bit of a boogie with Lola Valdez.

‘Yellow Iris’ isn’t the most developed or intriguing Poirot story, but it has a couple of neat little features. Namely, the idea of the remembrance party (with the eponymous ‘Iris’ being present, but absent from the entire story), and the ‘no one notices the waiter’ trick to effect the murder. These features are the threads that hold together some quite disparate retellings of ‘Yellow Iris’ over the year, beginning with Christie’s own revision of the story in 1945.

A few years after the publication of ‘Yellow Iris’, Christie rewrote and revised her short story (as was her wont). She turned it into a novel, Sparkling Cyanide, and replaced Poirot with Colonel Race. Colonel Race is a recurring character in Christie’s work, who pops up in a couple of Poirot novels as well. I’ll be writing a separate post on Colonel Race later, so I won’t say much more about his appearances here.

Sparkling Cyanide is recognisably related to ‘Yellow Iris’, but it’s a quite different take on the story. I’ll admit I didn’t even know it existed until a number of years after I’d seen the ITV version of ‘The Yellow Iris’ (which, as I’ve said, was a firm favourite). I accidentally stumbled on the 1983 film version on telly one night. I didn’t know it was even an Agatha Christie adaptation, but it soon became clear that it shared certain important features with ‘The Yellow Iris’ – namely, the remembrance party, the poisoned champagne, and the waiter disguise. Later on, I saw the 2003 version of Sparkling Cyanide with Oliver Ford Davies and Pauline Collins, in which Colonel Race becomes Colonel Reece and acquires a co-investigating wife. The story gets an espionage subplot, and the whole thing has a Tommy-and-Tuppence feel to it. But those key features are retained, of course.

I don’t want to get into the respective merits of the adaptations of Sparkling Cyanide here, but I do want to admit that I hadn’t read the novel until I was preparing this post. I think I’d been put off by the adaptations, to be honest, as they both felt a need to ‘update’ Christie’s work and make it ‘glamorous’, whereas I always had a soft spot for the simplicity of the mystery plot in ‘The Yellow Iris’. Perhaps, also, I was quite loyal to the earlier story, and I didn’t want to cheat on it with the non-Poirot rewrite.

But, this blog is nothing if not completist, so I took the plunge and gave Sparkling Cyanide a go. (The academic in me insists I point out that all references to the book are from the 2017 Kindle edition, published by HarperCollins.)

It was… really not what I expected! I loved it!

Sparkling Cyanide really focuses on the remembrance aspect of the story. It’s divided into three books, and the first one is literally just the main characters remembering the events of nearly a year earlier (and preceding circumstances). In this version of the story, the dead woman is Rosemary Barton (though she still died of drinking poisoned champagne after a cabaret show). Her younger sister is Iris Marle, who has been under the guardianship of Rosemary’s widowed husband George Barton. Other characters include Ruth Lessing (Barton’s competent secretary), Anthony Browne (Iris’s kind of boyfriend, who was previously infatuated with Rosemary), and Stephen and Alexandra Farraday (friends – or are they? – of the Bartons).

As this is a novel, these characters are substantially fleshed out in a way that wouldn’t have been possible in the short story. It should be said, as well, that they are different characters to those in ‘Yellow Iris’. Most notably, George Barton is not Barton Russell. He’s a ‘kindly, pleasant, but definitely dull’ man who, while he does eventually become obsessed with the idea his wife was murdered, is nothing but kindness and compassion to his young sister-in-law.

Being familiar with ‘Yellow Iris’, I was expecting this all to be a ruse to throw you off the scent. But then Christie pulled the rug from under my feet… when the suspects get together for their remembrance party, one of their number drops dead from poisoned champagne… but it’s George Barton, not Iris Marle. Was not expecting that!

So that’s the big change between ‘Yellow Iris’ and Sparkling Cyanide (which clearly I hadn’t paid much attention to on my cursory viewings of the adaptations). The significant details remain the same though, with the memory element played up even more in the novel (hence the name changes: Rosemary, as we’re repeatedly reminded, is for remembrance) and the murder technique kept the same.

I did enjoy Christie’s Sparkling Cyanide, and it made for an interesting companion piece to ‘Yellow Iris’ (I’m always fascinated as to which bits of a story Christie retains, and which she changes in her rewrites). However, I will say… Colonel Race is almost entirely redundant in the novel. I can understand why Christie removed limelight-stealing Poirot from the mix, but she doesn’t exactly put his replacement to work. He only appears halfway through and, even then, he doesn’t do an awful lot of investigating.

Poor Colonel Race… hopefully his time will come in another novel.

Right… on to the ITV adaptation of ‘Yellow Iris’, which gains a definite article and becomes ‘The Yellow Iris’.

This episode was directed by Peter Barber Fleming and written by Anthony Horowitz. As I’ve said, it was always one of my favourites of the early series, so it does pain me a little that I’m going to point out historical inaccuracy and an icky race thing in this post – but rewatching the episode in the context of this project has sadly brought a couple of negative points to my attention.

Let’s start with the positives though, shall we?

Overall, as might be expected, Horowitz’s adaptation is a reasonably faithful adaptation of the plot of ‘Yellow Iris’ (though the setting and set-up have been changed). And it was this plot structure that I fell in love with all those years ago.

During a tetchy argument with Hastings about the failings of English cuisine, Poirot discovers that a restaurant called the Jardin des Cygnes is to open in London. This stirs up an unhappy memory for the detective, which is only exacerbated when Miss Lemon arrives bearing a yellow iris that has arrived with the post.

The remembrance element of the story, here, is all Poirot’s, and he decides to recount a painful story to his associates that took place during a disastrous trip to Argentina two years earlier. He tells them that, while staying in Buenos Aires, he came upon a party of people – Barton Russell (played by David Troughton), his sister-in-law Pauline Wetherby (Geraldine Somerville), his business partner Stephen Carter (Hugh Ross), journalist Anthony Chapell (Dorian Healy) and dancer Lola Valdez (Yolanda Vasquez). Also in the party, though Poirot saw little of her, was Russell’s wife Iris (Robin McCaffrey). One night, Poirot ended up at the same restaurant as the people who had attracted his attention – the Jardin des Cygnes, run by an Italian named Luigi (played by Joseph Long and not, as he is in Christie’s story, nicknamed ‘fat’). At dinner, the group watched a cabaret performance, raised their glasses in a toast to Iris, and then looked on in horror as the woman died from drinking poisoned champagne. Poirot wished to investigate, but he was arrested by a certain General Pereira (Stefan Gryff), accused of espionage, and unceremoniously deported. It was a shameful episode, and he decided never to speak of it again.

Now a new Jardin des Cygnes is opening, and a yellow iris has been sent to the detective. Poirot fears that history might be about to repeat itself.

Ultimately, that is the story of ‘The Yellow Iris’. While Poirot and Hastings do a little bit of investigating to find out the party’s backstory (which is a little different and much expanded from the source story), the main focus of the episode is on the tragedy in Buenos Aires and the remembrance party in London two years later. The denouement comes when Pauline drinks her champagne and falls down dead, only to reappear at the key moment when Poirot reveals how the murder/attempted murder was pulled off by Russell.

The plot elements that had me enthralled as a teenager are the ones that Christie obviously thought were the central points – since they’re the ones she retained in her otherwise much revised novel. They’re also the points that are common to all adaptations of ‘Yellow Iris’ and Sparkling Cyanide – the remembrance party, the poisoned champagne, the waiter disguise. The episode makes the latter even clearer, as it introduces a little trick on the part of the detective during his climactic reveal. While in Christie’s story, Pauline simply sits up at the right moment and says ‘Resurrection of Pauline’, the adaptation has the young woman disguise herself as a waitress and serve the suspects coffee to prove that no one notices the waiting staff (this was my favourite bit of the episode when I first watched it).

There are some other little details that are retained from Christie’s story – in the source, it’s Pauline who makes the panicked phone call to Poirot inviting him to the restaurant, and here it’s Pauline who sends the yellow iris as a cry for help. And the all-important cabaret song – ‘I’ve Forgotten You’ – is included in the episode with lyrics taken directly from Christie’s story (in fact, I think Christie wrote these lyrics specifically).

In addition to this, there are some added touches in-keeping with the rest of the TV series that are quite nice. In particular, I like Poirot’s classy art deco breakfast.

It is this slice of toast that leads to Poirot and Hastings falling out about food. It’s a grumpy little argument that is put to one side when Hastings spots the advert for the Jardin des Cygnes. But we come back to it nicely at the end when, having been deprived of a fancy French dinner by the machinations of Barton Russell, Poirot is treated to some fish and chips by his old pal.

Awww… sweet.

But now… Argentina. Oh dear, oh dear, oh dear.

As I’ve said, the backstory – the murder of Iris – is transposed to Argentina from New York, and in this version Poirot was actually present at the first dinner. There are three reasons this really doesn’t work, and they all hinge on the fact that the episode’s opening scene pins the date of Iris Russell’s death to 1934.

Clearly, the ‘present day’ bit of the episode is meant, as other episodes in the series are, to be set in 1936. Characters keep referring to Iris’s death as happening ‘two years ago’, so we don’t really need the gravestone to tell us she died in 1934. But it’s there nevertheless, literally setting the date of the Argentina section in stone. Which causes the following problems:

1. Poirot is in Buenos Aires en route to visiting Hastings who is living in Argentina on a ranch in La Pampa. Is he?? Why hasn’t this been mentioned before? Does he still own the ranch? Why has he come back to mooch off Poirot if he owns a ranch in Argentina? Is someone running it for him in his absence? How did he afford it in the first place? How come, in August 1936, he spends ages telling Poirot and Japp about his six-month holiday in South America without mentioning anything at all about a ranch in La Pampa? Had he lost it by then? Does he buy another ranch after he gets married? Is Hastings some sort of mad ranch addict?

This does raise another question in my mind about Hastings’s ranch-o-philia. In Christie’s stories, Hastings makes the switch to Argentinian farming in the early 1920s. When he comes back for a visit in 1936 (in The A.B.C. Murders, he bemoans global and local economic circumstances that are making it hard for him to succeed. This isn’t surprising. The 1930s in Argentina are known as the ‘Infamous Decade’, during which time political unrest, corruption and the Great Depression caused huge economic upheaval in the country. It’s not surprising that Hastings’s ranch, which had seemed a sensible investment in the early 20s, is struggling by 1936.

And yet, in the TV series, Hastings actively chooses to start farming in Argentina in the middle of the Infamous Decade. I know he’s a bit daft, but surely this is an unwise decision even for him?

2. Now, this talk of the Infamous Decade reveals another potential problem with the episode, though I’m not 100% sure I heard the dialogue correctly here, so feel free to correct me if necessary.

When Poirot arrives in Buenos Aires, things are a bit hairy. There are regular power cuts, general strikes, and a foreboding military presence. Poirot quickly befriends Anthony Chapell, who gives him a bit of background as to the situation. Now, I’ve listened to the scene over and over again, and I’m convinced Chapell says:

‘The rumours are that President Yrigoyen can’t last much longer.’

This bugs me, as the series is normally so careful with historical detail. Hipólito Yrigoyen was deposed in a military coup in 1930 and died in 1933 (the year before this part is supposedly set).

I could have misheard – perhaps Chapell doesn’t say ‘Yrigoyen’ – but the episode certainly adds in an Argentinian coup d’etat that has no basis in historical fact. This just seems a bit disappointing given the eye for detail elsewhere in the series. Looking at the episode now, I really wonder why the story of Iris’s death was moved to Argentina in the first place. It doesn’t seem to make a lot of sense, and…

3. Isn’t it all a bit of a coincidence?

In Christie’s stories, Poirot and Race aren’t actually present at the first dinner. They are invited to the remembrance dinner in order to find out the truth about what happened to Iris/Rosemary. In the TV episode, however, Poirot was an eye witness to Iris’s death.

And then, two years later, not only does (not fat) Luigi decide to open an identical restaurant with an identical name down the road from Poirot’s house, but it also has its opening night on the anniversary of Iris’s death. And all the attendees from the first party are now living in London as well (while this is understandable in the case of Russell, Carter, Chapell and Pauline), is it not stretching it a bit to reveal that Lola Valdez also happens to be in town at just the right time?

Now, you might say that it’s not really a coincidence, that Russell took advantage of Luigi’s new restaurant to bump off Pauline. But the episode is at pains to remind us that Pauline is just one month off reaching her majority – and discovering that Russell has nicked her inheritance – and that Russell’s company is literally on the verge of financial ruin.

So Luigi opens a new restaurant and Lola moves to London and it’s the anniversary of Iris’s death at the exact moment that Russell needs to do something to cover his financial tracks? Suspicious… very suspicious.

I blame Luigi.

Anyway, as I’m nit-picking over an episode that I keep saying I love, I might as well raise one final uncomfortable point. It’s a bit of a strange one.

There is one final element that is common to Christie’s ‘Yellow Iris’, Sparkling Cyanide and ITV’s ‘The Yellow Iris’ – the race of the singer who performs at the cabaret.

In ‘Yellow Iris’, the singer of ‘I’ve Forgotten You’ is described thus:

‘A girl walked out into the middle of the floor, a coal black girl with rolling eyeballs and white glistening teeth. […] The sobbing tune, the deep golden Negro voice had a powerful effect. It hypnotized – cast a spell.’

In Sparkling Cyanide, the cabaret is described as ‘one of those negro shows’, a fact which is affirmed several times by different suspects.

In the TV episode, the singer at the Buenos Aires cabaret is played by Carol Kenyon (probably best known for her vocals on Heaven 17’s ‘Temptation’, which I’ve had stuck in my head for most of the time I’ve been writing this post). She is replaced by a white singer (played by Tracy Miller) for the second rendition of ‘I’ve Forgotten You’, which I’d suggest is performed in a much less ‘hypnotic’ way.

It was the insistent repetition of the description of a ‘negro show’ in Sparkling Cyanide that drew my attention to this detail, and I started to wonder why. Why does the race of the singer matter? It’s clearly not meant to denote a particular type of cabaret or venue, as it appears in both versions of the story (where the parties are otherwise quite different). The cabaret itself should be an irrelevance – it’s simply the thing that distracts everyone while the murderer is slipping cyanide into the champagne – so why give such specifics? And then to see Kenyon doing the ‘big’ performance in the TV episode, with Miller being simply the replica chosen for the rerun, really does make this detail stand out.

I suspect the answer is to be found in Christie’s original description in the original short story. ‘I’ve Forgotten You’ is meant to work like a spell – just as the figure of Iris/Rosemary will exert an almost supernatural power over those who saw her die. Its singer, then, functions almost as a ‘Magical Negro’ (or, at least, a ‘soulful’ singer), hypnotizing the dinner guests into a state of melancholic remembrance. Christie used this trope in 1937 and 1945 – and it was then replicated in 1993. Some things, perhaps, don’t change.

I feel like I’ve been way too critical of this episode. Sorry. I still really like it though. So let’s end with a picture of Poirot enjoying his fish and chips.

This post was way too long. And way too obsessed with Hastings’s ranches, Argentinian politics and dodgy racist tropes. It’s possible that this is the point where I start getting accused of overthinking Poirot.

Anyway, it’s the first day of 2019! Onwards and upwards! I reckon this is the year when I’m finally able to watch ‘Curtain’ – only a few more episodes to go (haha!).

Next up: ‘The Case of the Missing Will’

Poirot Project: The Underdog (review)

This post is part of my 2016 2016-17 2016-19 Poirot Project. You can read the full story of why I’m doing this in my Introduction post. The previous post was a review of ‘The Adventure of the Egyptian Tomb’.

Beware: Here be Spoilers

The second episode of the fifth (-ish) series of Agatha Christie’s Poirot was ‘The Underdog’, and it was first broadcast on 24th January 1993. This episode was based on the short story ‘The Under Dog’ (note the slightly different spelling), which was first published in April 1926 in Mystery Magazine (and then in the UK later that year in London Magazine).

‘The Under Dog’ is one of the non-series Poirot short stories that appeared periodically in between the publication of novels. As such, it doesn’t feature Hastings as the narrator – like ‘Wasps’ Nest’ and ‘Problem at Sea’ – Hastings doesn’t appear in the story in person. (However, as in some of the other stories, Hastings isn’t entirely absent… but I’ll come to that shortly.)

The story begins with Poirot being consulted by a young woman called Lily Margrave. Lily is the paid companion of Lady Astwell, who has sent her to visit the famous detective and ask for his help. Lady Astwell’s husband – Sir Reuben Astwell – has been murdered, and his nephew Charles Leverson is accused of the crime. Lady Astwell is convinced that Charles is innocent, and so wishes Poirot to investigate and exonerate him.

The story’s set-up is charmingly comical. As Lily Margrave attempts to tell her story, the great detective appears not to take her very seriously:

‘His occupation at the moment struck her as particularly childish. He was piling small blocks of coloured wood one upon the other, and seemed far more interested in the result than in the story she was telling.’

There’s no real explanation for why Poirot is doing this – I think we’re just supposed to take it as one of his little eccentricities. It’s not really relevant to the story.

In outlining the circumstances of Sir Reuben Astwell’s death, Lily gives a brief sketch of his household – including his wife and nephew, his butler Parsons and his secretary Owen Trefusis. She eventually admits to Poirot that Lady Astwell is stubbornly sticking to her conviction that Charles is innocent, having developed an apparently irrational belief that Owen Trefusis is the guilty party. Lily Margrave believes this is all nonsense, and she tried to persuade her employer against asking Poirot to get involved.

This last point piques Poirot’s interest, and he instantly decides to go and visit the late Reuben Astwell’s home (named ‘Mon Repos’ in the story). And he’s taking steadfast valet George along for the ride.

Although this story doesn’t feature any of ‘the gang’, there are two familiar faces. As I’ve said, George plays his part in this case (more on that shortly). The story also sees the return of Detective-Inspector Miller (who appears in ‘The Lost Mine’, ‘The Disappearance of Mr Davenheim’ and ‘The Mystery of the Spanish Chest’). Miller’s schtick is that basically he doesn’t like Poirot – and Poirot doesn’t rate him much either. He’s like the anti-Japp.

In ‘The Under Dog’, Poirot hears that Miller is in charge of the case, and he makes a couple of snarky asides to remind readers of their animosity. However, he eventually has to make a trip to Scotland Yard to actually speak to the policeman, which he does with a certain degree of reluctance. I quite like Christie’s description of Poirot’s arrival at the Yard:

‘Detective-Inspector Miller was not particularly fond of M. Hercule Poirot. He did not belong to that small band of inspectors at the Yard who welcomed the little Belgian’s co-operation. He was wont to say that Hercule Poirot was much over-rated.’

While we do see the odd police officer respond negatively to Poirot in other stories, this suggests that, actually, detectives like Miller are the majority – it’s Japp (and the rest of the ‘small band of inspectors’) who are unusual in their collaboration with the little Belgian. Interestingly, I’m writing this post just after watching this Christmas’s prestige BBC Christie production – the somewhat controversial adaptation of The A.B.C. Murders by Sarah Phelps. In this version (to much hand-wringing from so-called purists), Poirot is presented as a now-discredited charlatan, with Inspector Crome painfully reminding him that it was only Japp (and, presumably, a ‘small band of inspectors’) who ever trusted the unexpectedly tall Belgian’s co-operation.

In this year’s A.B.C. Murders, Poirot has to prove himself to Inspector Crome (or, rather, he has to honour his own personal vow to bring justice for the dead – distractingly this Poirot has a similar catchphrase to Logan Nelson in Jigsaw… but I digress). However, in ‘The Under Dog’, Poirot simply plays Inspector Miller like a fiddle, using some of the least subtle flattery in his arsenal, and getting the detective to share certain details of his investigation. And then he completely blows Miller out of the water with a theatrical gather-the-suspects denouement that reveals the idiot police had it all totally wrong. No wonder most of the Yard hates him.

Poirot’s investigation isn’t just missing Japp, though. He’s also missing Hastings. In the first non-Hastings story Christie wrote – ‘The Adventure of the Christmas Pudding’, Poirot missed his friend with a deep melancholy that was really sad to read. Time seems to heal Poirot’s wounds, and he talks less about his friend’s absence in later stories (even – shock, horror! – not mentioning him at all in some stories). ‘The Under Dog’ is somewhere in between. Although Poirot seems to be coping with his friend’s departure, he can’t help but slip his name randomly into conversation. It’s not quite as cheeky as his Arthur-the-Dummy joke in ‘Problem at Sea’, but his meandering comment about hunting in this story seems like an excuse just to get nostalgic:

‘To catch the fox you ride hard with the dogs. You shout, you run, it is a matter of speed. I have not shot the stag myself, but I understand that to do so you crawl for many long, long hours upon your stomach. My friend Hastings has recounted the affair to me.’

Sorry, Poirot… what’s that got to do with the murder again?

In place of Hastings, Poirot is accompanied by his valet George. As always, he finds George wanting as a sidekick, but there’s some good Poirot-and-George interactions in ‘The Under Dog’, and there’s just a slight glimmer of the valet starting to step up to his role as New-Hastings.

At first glance, it seems that the ‘[t]all, cadaverous and unemotional’ George is just going to depress Poirot. When the detective starts to get excited about heading down to Mon Repos to hunt a murderer, George is unmoved:

‘“Shall I pack dress clothes, sir?”’
Poirot looked at him sadly.
“Always the concentration, the attention to your own job. You are very good for me, George.”’

But as things unfold, George finds himself caught up in the chase. In response to a comment from Poirot about a man with a ‘tropical temper’, George can’t help but correct his employer with an uncharacteristic anecdote about his Aunt Jemima (‘a most shrewish tongue she had’). Emboldened, he then directly asks – or, as directly as a gentleman’s gentleman can ask – to play a role in the case:

‘“Is there anything I can do in any way,” he inquired delicately, “to – er – assist you, sir?”’

It’s a short step from inquiring delicately to keeping nix while Poirot rifles through a suspect’s underwear drawer. A short step indeed.

I need to turn my attention to the ITV adaptation in a minute, so just a few other things to say about the short story. It’s quite a long short story (over three times as long as the Sketch stories), so I’ll have to control myself.

One of the things I like about this story is the focus on the servants – particularly the butler Parsons and housemaid Gladys – as valuable witnesses. Nevertheless, in order to get their statements, Poirot has to exercise his talent for making people feel at ease. His first assessment of Parsons is, pretty much, a comment on fictional butlers in general:

‘This Parsons, then, he will have the characteristics of his class, he will object very strongly to the police, he will tell them as little as possible. Above all, he will say nothing that might seem to incriminate a member of the household.’

This quote comes from early in the story, and it introduces the theme of psychology – and Poirot’s understanding of psychology – that runs throughout the story. Each time he is called upon to interview someone, he instinctively weighs up their personality and employs the best approach to make them trust him. With Parsons, Poirot is respectful and understanding of the man’s position. With Miller, he flatters the man’s intelligence and perspicacity. With Lily Margrave, he adopts the avuncular persona he often uses with young women (‘You will tell old Papa Poirot?’), and with Lady Astwell he validates her belief in her intuition. With Gladys, he allows her to think he is French (quelle horreur!), so that she’s willing to show him one of Lily Margrave’s dresses (‘We all know that Frenchmen are interested in ladies’ dresses.’)

It makes sense that Christie focuses on Poirot’s ability to read people here, as this is a case that hinges on an understanding of personality, rather than any hard evidence. In fact, Poirot fakes a clue (the blood-soaked chiffon), lies to most of the suspects, and eventually goads the murderer into making a misstep by pretending to find something of interest on the staircase. The story’s title turns out to refer to this study of personality. As Poirot reminds us repeatedly – and, as George’s Aunt Jemima story affirms – people with bad tempers aren’t the most dangerous. ‘Those who bark do not bite.’

And so… on to the adaptation. Not the most memorable episode of the series, and, by the standards of the series so far, not the most faithful adaptation either. However, the changes it makes to the story are certainly interesting.

‘The Underdog’ (all one word) was written by Bill Craig and directed by John Bruce. I believe this was Craig’s only Poirot script, though Bruce also directed ‘The Case of the Missing Will’ (speaking of unfaithful adaptations… but we’re not there quite yet!).

From the episode’s opening moments, it’s clear that the setting has been altered. Obviously, it’s now set ten years later – as with almost all the early series, the episode is set in the mid-30s – but it’s also now got a bit of an industrial backdrop, as the episode opens in a laboratory. Chief Chemist (not secretary) Horace (not Owen) Trefusis (played by Bill Wallis) is reading a letter from a German. Of course, this is intended to get our hindsight tingling. A chemist? Reading a letter from Germany? In 1936? Dodgy stuff. But before we can really take that in, the scene is interrupted by a dubious-looking chap (come on… he’s wearing a polo neck and a flat cap!) bursting in and setting fire to the lab.

This opener is quite far removed from the background to Christie’s story. In the source text, Poirot (and the reader) discovers the ol’ leave-your-partner-for-dead-and-steal-the-mine trick (seriously – is there anyone in Golden Age detective fiction who owns a diamond/gold mine and didn’t swindle their partner and leave them for dead in the bush?). Reuben Astwell is the mine-swindler, and Humphrey Naylor is the disgruntled former colleague (‘It was assumed that he and the expedition had perished.’ Obvs.).

Craig’s adaptation drops the mine, and replaces it with a storyline about synthetic rubber. Humphrey Naylor (played by Andrew Seear) is a research chemist, who had previously approached Astwell’s Chemicals with a formula for a new product, for which he needed commercial backing. Reuben Astwell told him that the formula didn’t work. Imagine his surprise when he found that, not only had Astwell’s nicked his work, they were planning to licence it under the name Astoprene to German chemical giant I.G. Farben. In a way, that’s worse than being left for dead in the Mpala Gold Fields.

I’m quite fascinated by the I.G. Farben subplot in this episode. It serves as both a red herring and the genuine motive for the murder. But it also allows for a return to the perennial background to the series – the impending (but never breaking) war with Germany. And, as in other episodes, we get some pontifications from unlikeable men about the probable impact. Reuben Astwell (Denis Lill) gives a lecture on the inevitability of war, given the ‘remilitarisation of the Rhineland’ (he’s also seen reading a copy of the Evening Standard bearing the headline ‘Hitler’s Pledge to Britain’), before concluding that such an event would have ‘economic benefits’ and stop people ‘scrounging on the dole’. During his rant, it’s clear that Astwell hates the Germans and thinks their warmongering is despicable. And yet, he’s still happy to do business with I.G. Farben, suggesting that – if war’s coming – Astwell wants a big piece of the economic benefit pie.

More sinister, in a way, is Horace Trefusis’s enthusiastic response to this. He positively salivates at the thought of the scientific advances that can be made in a time of war (‘New fuels! New alloys!’). I don’t know if it’s just me, but Trefusis’s fervour for upcoming scientific developments, coupled with the impending contract with I.G. Farben, has a really uncomfortable undercurrent. Hindsight, again, tells us what role I.G. Farben played in the Nazi regime, and I find it difficult not to be reminded of the ‘scientific developments’ pursued by subsidiaries of the company. In reality, I.G. Farben would indeed produce synthetic rubber, and they would do so at the Monowitz Buna-Werke factory, part of the Auschwitz complex. The Buna factory used prisoners from Auschwitz camps as slave labour in the production of rubber.

So, in ‘The Underdog’, I’d suggest that we have more than the now-standard reference to impending war with Germany. In this episode, the shadow of the Holocaust is just discernible. Poirot is uncomfortable with the conversation – and with Astwell’s tasteless ‘joke’ about an imminent invasion of Belgium – and sombrely states: ‘I myself have experienced first-hand the horror and destruction of war with Germany.’* Later on, we see Victor Astwell (Ian Gelder) tearing up his late brother’s contract with I.G. Farben in distaste.

Cheery stuff, eh? But that’s just the Underdog’s undercurrent. Let’s turn our attention to its… erm… overcurrent(?) now, shall we?

I get why the gold mine storyline is changed to the synthetic rubber one. For one thing, the mine story would seem a little old-hat for 1936 (were there any mines left in the 30s that hadn’t already been swindled away by cantankerous Golden Age millionaires?), and the rubber subplot allows for more of a comment on the series’ period backdrop. But there are other changes to the story that seem less clearly thought-out.

I’m okay with the change to the house – Christie’s Mon Repos (‘a big, solidly built red-brick mansion, with no pretensions to beauty’) is replaced by the obligatory modern art deco house (not sure if a real house was used for the exterior shots in this episode, sorry) – but the changes to the characters make less sense.

In Christie’s story, most people in Mon Repos are pretty fiery characters. Reuben Astwell loves a good barney; his wife is an ex-actress who still enjoys her histrionics; brother Victor has the ‘tropical temper’ and makes his appearance by yelling at his chauffeur. The only person who doesn’t lose it is Owen Trefusis, who is described thus:

‘At a big desk at the farther end of [the library] sat a thin, pale young man busily writing. He had a receding chin, and wore pince-nez. […] Mr Owen Trefusis was a prim, proper young man, disarmingly meek, the type of man who can be, and is, systematically bullied. One could feel quite sure that he would never display resentment.’

So… an underdog type then?

In the adaptation, the only person who really has a bad temper is Reuben Astwell. Lady Nancy Astwell (Ann Bell)’s past career as an actress is only mentioned once in passing by her husband – though we do see a couple of framed pictures of her in her heyday… looking a little like a young Gladys Cooper in one of them.

Gladys Cooper

Lady Astwell’s acting career (and resemblance to Gladys Cooper) is irrelevant to the plot here. It’s barely even a red herring. She’s the model of a sensible and level-headed wife, weighed down by the peculiar rages of her husband. Similarly, Victor Astwell is transformed from a chauffeur-roasting hothead to a mild-mannered ‘junior partner’, forced to endure the mad wrath of his unhinged older brother. Nancy and Victor appear to be cowed by Reuben, weathering the storm and – I think it’s implied – turning to each other for comfort. (It’s Victor who snaps the knife in the table in this version of the story, not Trefusis.)

Now, I know what you’re thinking. Isn’t Victor Astwell supposed to fancy Lily? Well not here. In another inexplicable change, Lily (Adie Allen) is now head-over-heels for Charles Leverson (Jonathan Phillips), Astwell’s golf-loving nephew. Charles is also under the thumb of his uncle, and only plucks up the courage to stand up for himself on the night of the murder (bad timing, really). Lily is a demure lady’s companion, behaving with decorum and modesty, and only slightly raising her voice when Astwell sacks her for rooting through his office.

In the end, the only person who actually seems to stand up to Astwell is… Horace Trefusis, who is more than happy to openly disagree with his employer on a couple of occasions. Although Poirot declares Trefusis to be an ‘underdog’ in the denouement – and Trefusis spits back that Astwell was ‘a bully’ – in fact he’s the only character that isn’t bullied. And, it turns out, he murdered Astwell for cold hard cash, as he knew he wasn’t going to get a penny from the I.G. Farben contract.

These changes don’t make for a bad story per se, but they do leave you wondering why the episode is called ‘The Underdog’. ‘The Reasonably Assertive Murder Chemist’ would have been a better title, but I guess that would’ve constituted a spoiler.

(I don’t really have anything to say about the picture above, except that I love the bit where Gladys (Lucy Davidson) discovers Astwell’s body. It’s pitch-perfect servant-discovers-a-corpse acting, complete with a dropped breakfast tray.)

Now, on to the character changes that we kind of expect from this series: the introduction of ‘the gang’. It’s just two-thirds of the gang this time though, as, despite the opportunity, Japp hasn’t been added to replace Miller in this episode. Instead, Miller is simply dropped, and the police are represented by a nameless local sergeant (played by Michael Vaughan).

However, we do have Miss Lemon, who replaces the minor character of Dr Cazalet of Harley Street. You see, along with séance, I Ching, tarot and automatic writing, Miss Lemon has an interest in hypnosis. She tries her technique out on Poirot early in the episode – with no success – but is later called on to reveal the secret clue lurking in Lady Astwell’s subconscious. This is a nice touch, as it fits with Poirot’s reliance on a hypnotist in Christie’s story, but also links to the TV character of Miss Lemon that the series has created.

Naturally, along with Miss Lemon, we also have Hastings. Sadly, though, I don’t think Hastings works in this episode. He’s not simply there as a replacement for George, but nor is he quite… Hastings enough. While he serves the purpose of getting the detective embroiled in the case in the first place (Hastings here is an old friend of Charles Leverson, who has invited him down to Abbott’s Cross for a golf tournament), the rest of the time he’s a bit too… dynamic for my tastes. He jumps straight into being a co-investigator, surveilling guests at their hotel, witnessing Lily’s delivery to Naylor, initiating a chase down to London and – inexplicably – knowing the train timetable off by heart. Shouldn’t Hastings be a bit less… you know… competent?

And on that note, I need to wrap this post up, as it’s ended up a lot longer than I intended (don’t they always?). Two final things:

Sadly, the loss of George from the adaptation means that my favourite scene from the story had to go. When Poirot decides to fabricate a bit of evidence proving that Lily went to Astwell’s study on the night of the murder, he tricks Gladys into letting him see her chiffon dress. He tears a tiny bit of fabric off, but in order to make it incriminating, he needs to make it blood-stained. Ever the martyr, he decides to use his own blood – and asks George to sterilize a needle and stab him in the finger. I don’t know which bit is weirder – Poirot’s screaming in pain at a tiny pin prick, or George’s unquestioning acquiescence. It’s a shame that couldn’t have been included in the episode.

On the plus side, we do get a welcome return of one of my favourite of Poirot’s accessories: the walking stick telescope! The perfect way to watch Hastings score a hypnosis-induced hole-in-one!

Time to move on to an episode I adored when I first saw it… ‘The Yellow Iris’




* Ironically, this was another aspect of the BBC’s A.B.C. Murders that pearl-clutching critics raged about – Phelps’s version of Poirot is explicitly shown to have ‘experienced first-hand the horror and destruction of war with Germany’.

Poirot Project: The Adventure of the Egyptian Tomb (review)

This post is part of my 2016 2016-17 2016-18(?) Poirot Project. You can read the full story of why I’m doing this in my Introduction post. The previous post was a review of ‘One, Two, Buckle My Shoe’.

Beware: Here be Spoilers

And so, after a short run of adaptations of Christie’s novels, we return to the short stories for the final series of hour-long episodes. The first episode of the fifth series of Agatha Christie’s Poirot – ‘The Adventure of the Egyptian Tomb’ – was first broadcast on 17th January 1993, and it was based on the short story of the same name, which was first published in The Sketch in September 1923. Having wandered ahead to 1940 with One, Two, Buckle My Shoe, it’s nice to come back to that first run of Poirot Sketch stories again.

And it’s familiar territory here – Hastings is our narrator, and he’s in full-on Watson mode:

‘I have always considered that one of the most thrilling and dramatic of the many adventures I have shared with Poirot was that of our investigation into the strange series of deaths which followed upon the discovery and opening of the Tomb of King Men-her-Ra.’

After narrating this investigation to us, Hastings ends his story with another Watson-like pronouncement:

‘The case was hushed up as far as possible, and, to this day, people talk of the remarkable series of deaths in connection with the Tomb of Men-her-Ra as a triumphal proof of the vengeance of a bygone king upon the desecrators of his tomb – a belief which, as Poirot pointed out to me, is contrary to all Egyptian belief and thought.’

The story is situated as one of Hastings’s chronicles of Poirot’s past cases. There’s a bit of a suggestion that, much like ‘The Kidnapped Prime Minister’, this is a story that Hastings has held back until the time is right for its narration.

But this tone doesn’t seem quite right here. While the investigation may well have been ‘one of the most thrilling and dramatic’ undertaken by the dynamic duo, it’s surely also one of the most recent.

Hastings draws explicit attention to the real-life inspiration for the story in the opening paragraphs:

‘Hard upon the discovery of the Tomb of Tutankh-Amen by Lord Carnarvon, Sir John Willard and Mr Bleibner of New York, pursuing their excavations not far from Cairo, in the vicinity of the Pyramids of Gizeh, came unexpectedly on a series of funeral chambers.’

Now, the tomb of Tutankh-Amen (to use Christie’s spelling) was only discovered by Howard Carter in November 1922, less than a year before Christie’s story was published. The high-profile death of Lord Carnarvon, which cemented the myth of Tutankh-Amen’s curse (clearly the inspiration here), didn’t occur until April 1923. So, despite the Hastings-as-chronicler introduction, ‘The Adventure of the Egyptian Tomb’ is a story inspired by a ‘hot’ news story – Hastings’s ‘to this day’ claims feel a bit like an affectation here, to be honest.

Still, let’s have a look at the story itself. Poirot is called upon by Lady Willard, the widow of Sir John Willard, who died (à la Lord Carnarvon) shortly after the tomb of Men-her-Ra was opened. Lady Willard is scared that the pharaoh’s curse might still have victims to claim. Poirot states that he believes superstition to be one of the world’s most powerful forces and agrees to look into the case. Hastings is surprised, but (naturally) goes along with things.

Lady Willard is particularly fearful for her son, who has gone out to Egypt to continue his late father’s work. He is part of a party that includes Mr Bleibner, an American archaeologist, Dr Tosswill of the British Museum, Mr Schneider of the Metropolitan Museum in New York, Dr Ames, the expedition’s physician, and Hassan, a ‘native servant’ (ignore him – when has someone called ‘Hassan’ ever been the murderer in an Agatha Christie?). Previously, the party had also included Rupert Bleibner, nephew to the archaeologist, but this young man has recently taken his own life. Was young Mr Bleibner a victim of the pharaoh’s curse? Can there possibly be any connection between his death and that of Sir John Willard?

Only one man can work that out… but he’ll need to go to Egypt to investigate.

‘The Adventure of the Egyptian Tomb’ isn’t one of my favourites, to be honest. It’s not a great mystery – though it has a lovely sleight-of-hand in Rupert’s suicide note, which I’ll come back to when I talk about the adaptation – and some of the motive is held back way longer than I expect from Christie. I’m not sure a reader could really work this one out, and that’s a bit naughty.

However, it’s fun to see an early example of Christie’s love of archaeology. And it’s always great to have Poirot and Hastings on the road. There’s a little reminder of how much Hercule hates ‘the sea! The hateful sea!’, and a description of him waging ‘an unceasing war on the dust’. Sadly, though, our narrator holds back on what could have been quite the memorable scene:

‘I pass over the spectacle of Poirot on a camel.’

(Though he does give us a flavour of his friend’s wild discomfort, before noting that he ended the journey on a little donkey.)

Overall, this isn’t the best of the Sketch stories, but it’s another nice little slice of Poirot ’n Hastings, and the start of the archaeological thread that will run through many more of Christie’s stories.

And so to the adaptation…

The episode was written by Clive Exton and directed by Peter Barber Fleming. It’s a fairly faithful adaptation of the short story, though Miss Lemon has been added to the mix (no Japp this time – either in the short story or the episode).

This might seem a bit weird, given that I’ve just said I’m not especially enamoured of the short story, but I remember really liking this episode when it first aired. And I can remember exactly what it was that I loved about it: it was that trick with the suicide note. I thought it was brilliant.

The trick is quite simple (the best ones always are). Rupert Bleibner leaves a note saying that he’s a ‘leper and an outcast’. Eventually, it dawns on Poirot that perhaps that first bit should have been taken literally. He didn’t kill himself because he’d been cast out by his friends; he killed himself because he thought he’d contracted leprosy. It’s one of those neat little details that appear in the best detective fiction – you’re given explicit information in the full knowledge that you’ll make the wrong interpretation.

Thinking about it, I’m not sure it’s so weird that I enjoyed the episode as a teenager, while being disappointed by the story as an adult. I think this is one of the episodes (there aren’t many, and they’re mostly written by Exton) that is actually better than its source material. It’s not that the plot or characterization is dramatically altered, but rather that there’s some subtle restructuring and reframing that makes for a more satisfying mystery.

The first alteration comes with the way Poirot finds out about Rupert Bleibner’s death. In Christie’s story, the detective sends a cable to New York for details. In the TV version, he has a more immediate source – as Miss Lemon points out, Hastings is currently in the States and so could do some on the spot investigation. This is probably why the ‘leper’ trick works better in the episode than in the story. Hastings actually gets to meet Rupert Bleibner (played by Paul Birchard), and so we get some additional visual clues (even if we don’t necessarily process what we’re seeing) to the young man’s plight. (And, here, it’s Hastings that discovers Rupert Bleibner’s body when he goes to talk to him about the death of his uncle.)

Of course, it’s never actually explained why Hastings is in America. Miss Lemon says he’s been doing some business in California. What business?? As I keep coming back to, Hastings is clearly a bit of a hapless, family-less posh lad. There’s a mention of him working for Lloyd’s at one point, but otherwise we see no evidence of him being involved in ‘business’. He hasn’t even got his own flat (most of the time). He certainly doesn’t make a habit of popping over to California, so his trip here seems a bit odd. In fact, Exton’s script makes it seem odder, as Hastings is a complete fish-out-of-water in the US of A. He doesn’t seem like a seasoned transatlantic traveller – he doesn’t even know what ‘over easy’ means.

That aside, the story does work better when the clues are presented more directly. There’s still the problem of Rupert Bleibner’s will, though, which is my biggest beef with both the episode and the story. In Christie’s story, the fact that Rupert made a will in favour of Dr Ames is just dropped in as near-speculation in the fourth-to-last paragraph, with the detective simply waving his lack of evidence away as ‘doubtless’. In the adaptation, we get a little bit more of a hint (there’s some reference to Ames’s previous acquaintance with young Bleibner), but Poirot still gets the detail from a Miss-Lemon-ex-machina phone call that the viewer can’t hear.

I guess, though, if you’ve worked out the ‘leper’ clue, then there’s only one possible suspect, and so the will isn’t that important. I guess.

The other alterations to the episode are minor, and mostly work to involve Miss Lemon (kind of) in the plot.

Exton retains Poirot’s comments on superstition being a powerful force and Hastings’s disbelief in his friend’s apparent gullibility. This is now paralleled by Miss Lemon’s rather earnest belief in the power of the supernatural, which is something we’ve seen before (and will see again).

Other changes are a bit more pragmatic. One that makes me giggle is the change in name for the British Library representative (played by Jon Strickland). I love the fact that someone thought ‘Dr Tosswill’ sounded a bit too snicker-inducing and so changed it to ‘Dr Fosswell’.

The timescale of the episode is also a little tighter – Poirot’s investigations in the series tend to be spread over days and weeks, rather than the months of some of the short stories – and so, with the delay caused by waiting for Hastings to return from America, our dynamic duo simply don’t have time to get the boat to Egypt. Instead, they fly, and so we miss out on Poirot’s sea-sickness. (In case you’re curious, regular flights from the UK to Cairo began in 1927, so it’s not an anachronism to have the TV characters taking this flight. It wasn’t an option for their literary counterparts.)

Sadly, the scriptwriters also chose to ‘pass over the spectacle of Poirot on a camel’ and replace the journey to the expedition with a wild car ride, gleefully piloted by Hastings. I think they still capture Poirot’s dramatic discomfort though.

But, although the method of travel is different, Poirot’s dislike of dust is retained (as well we might expect, given the characterization in the series). Poirot’s recourse to his clothes brush is still present – as is one of Hastings’s cheekiest lines from Christie’s story: ‘Come, now, there’s a lot of sand in Belgium.’ Not in Brussels, Hastings. Not in Brussels.

Throughout the episode – as with all his scripts – Exton’s knowledge of and affection for Christie’s text is apparent. He even has his Poirot reading the same book Christie’s character consults: The Magic of the Egyptians and Chaldeans. This is a really nice touch, as you could easily miss the title of Poirot’s volume, so it’s almost like an (admittedly niche) Easter Egg for Christie fans.

But I’m going to end this review with something else that’s been added in for the episode. It’s certainly not something we’d find anywhere in Christie’s Poirot stories, but it’s a lovely little addition for the TV series.

In case we hadn’t guessed, this episode tells us that Miss Lemon likes cats. But, sadly, her beloved pet Catherine the Great (or Catherine the Grate, given that she was named for her love of sleeping by the fire) has died. As Hastings points out to Poirot, much of Miss Lemon’s spiritual dabblings (tarot, automatic writing) are attempts to try and communicate with her departed feline companion.

At first, this seems like one of those times when Hastings and Miss Lemon’s friendship is developed, with Poirot unable to fully understand the vagaries of their ‘normal’ emotions. Certainly, he seems a little dismissive of Miss Lemon’s grief, as though he can’t quite understand what his secretary is going through.

We shouldn’t have doubted him though. At the end of the episode, when Poirot and Hastings return to London, our little Belgian detective comes good. He has understood Miss Lemon’s pain, and he’s had an idea how to comfort her. In the final scene, he presents Miss Lemon with a small statue of King Men-her-Ra’s favourite cat, a feline protector that, Poirot insists, will ensure that Miss Lemon is visited by Catherine in her sleep. It’s a really sweet moment, and the episode ends with a reminder of the warmth these characters feel towards each other (something that’s a big part of the TV series).

Does Miss Lemon believe that Poirot thinks her dead cat will come to her in a dream? Or does she know he’s just humouring her? I think she knows, deep down, but she also knows that he’s doing what he can to make her feel better. She seems so genuinely touched by his gesture – it’s such a lovely ending to the episode.

And so, time to move on to the next episode… ‘The Underdog’

Poirot Project: The ABC Murders (review)

This post is part of my 2016 2016-17 Poirot Project. You can read the full story of why I’m doing this in my Introduction post. The previous post was a review of ‘The Mystery of Hunter’s Lodge’.

Due to the various commitments and stresses of life, I’ve had to take a little bit of a break from this project. It’s been over six months since my last Poirot Project post. But I’m pushing on now, and I’m totally sure I’ll get to Curtain by Christmas this year (haha!). In a way, it’s kinda appropriate that I’ve had a six-month break, as that fits quite nicely with The ABC Murders, which is where I’m picking up.

Beware: Here be Spoilers

The first episode of the fourth ‘series’ of Agatha Christie’s Poirot was first broadcast on 5th January 1992. I’ve put inverted commas around ‘series’ here, as the 1992 episodes were a bit of a departure from the previous adaptations. There were only three stories shown this year, and each one was a feature-length adaptation of a novel, rather than the (at this point) standard hour-long short story episodes. It’s now usual to refer to these three episodes as the ‘fourth series’, and they were broadcast in a regular weekly slot that January, but I’m just not sure we really thought of them as a ‘series’ in 1992. In fact, I don’t think we thought about TV in terms of series in the same way at all back then. We had ‘serials’ (usually long-running dramas, often soap operas, where a continuous narrative developed episode-to-episode) and ‘series’ (often sit-coms and crime dramas, where a set of related episodes – most commonly six – were shown weekly, though the narrative wasn’t necessary continuous). But we also had a lot of one-off or self-contained programmes, where a single story was presented (either in one go or in instalments). The BBC’s adaptations of the Miss Marple stories were like this, as were The Ruth Rendell Mysteries. I don’t remember ever referring to these as a ‘series’ in the 90s – you’d just say ‘there’s a new Inspector Wexford on this week’, not ‘there’s a new series of Inspector Wexford starting on Sunday’.

But time – and technology – have changed all that. Once long-running shows were packaged up (retrospectively) for VHS, DVD and then streaming, they were divided up into series. So ‘The Dead of Jericho’, ‘The Silent World of Nicholas Quinn’ and ‘Service of All the Dead’ stopped being ‘three feature-length dramas shown in January 1987’ and started being ‘Series 1 of Inspector Morse’. And so ‘The ABC Murders’, ‘Death in the Clouds’ and ‘One, Two, Buckle My Shoe’ became ‘Series 4 of Agatha Christie’s Poirot’. On the whole, this makes sense: these particular episodes of Poirot, like the Inspector Morse adaptations, were shown weekly as a short series, and they were sandwiched between two clearly defined series of eight and ten episodes. But I might have to return to this niggly little point when we move on to the run of feature-length episodes, as they’ve been lumped together into ‘series’ almost at random, in order to better fit the boxset model of TV-watching that we’re all more comfortable with now (at least, that’s the only reason I can think of why ‘Appointment with Death’ is counted as part of ‘Series 11’ and ‘The Clocks’ as ‘Series 12’).

NB: There is no ‘Season 4’ of Agatha Christie’s Poirot, just as there is no ‘Season 4’ of Sherlock. It’ll be a cold day in hell before I start referring to UK TV shows in terms of ‘seasons’.

Right… that said…

‘The ABC Murders’ was based on the novel of the same name, which was published in early 1936. Just to satisfy the academic part of me, I should say that the edition I’m using here is the paperback edition published by HarperCollins in 1993. This is the first Poirot book I’ve had to go out and buy specifically for this blog project, as (weirdly) I discovered that I didn’t actually own a copy of The ABC Murders. Turns out my Agatha Christie collection is a little haphazard – I own four copies of Death on the Nile, but had to buy ABC.

Although The ABC Murders was published after Murder on the Links, it is narrated by Hastings. Like The Big Four and Peril at End House, it begins with Hastings making a trip back to England and reconnecting with his old friend. As the opening pages tell us, it’s now June 1935, and Hastings has come to England for six months to deal with certain business affairs. However, he soon forgets that was the reason for leaving his wife in Argentina:

‘I need hardly say that one of my first actions on reaching England was to look up my old friend, Hercule Poirot.’

Hastings discovers that some things have changed. Poirot has moved out of lodgings and into a brand new flat:

‘I found him installed in one of the newest type of service flats in London. I accused him (and he admitted the fact) of having chosen this particular building entirely on account of its strictly geometrical appearance and proportions.’

This flat, as we later discover, is in Whitehaven Mansions, EC1 (the postcode area covering City of London, Islington, Camden and Hackney). The TV show had this as Poirot’s permanent address throughout the episodes – though the style and size of the building’s interior changed as the programme progressed – but Christie only moved her Poirot into this ‘newest type of service flat’ in 1935. The 1930s saw a number of new art-deco constructions in central London that might have inspired Christie’s description of a building with ‘strictly geometrical appearance and proportions’ – including Guy Morgan and Partners’ Florin Court, EC1, which was being constructed as she was writing The ABC Murders and which, of course, was used by LWT as the TV version of Whitehaven Mansions.

While Poirot’s residence has changed, the man himself remains curiously unaltered. Hastings is initially baffled by this, exclaiming that his friend looks ‘hardly a day older than when I had last seen him’. This feels, at first, like Christie having a little joke at her famous creation’s longevity. After all, given that Poirot had a distinguished career in the Belgian police force before The Mysterious Affair at Styles (set c.1916), he has to be in his 60s by now – and yet, he seems no different to when he made his first appearance. But it turns out this isn’t the case. In fact, Hastings’s comment on Poirot’s unchanged appearance kicks off a weird little hair obsession that runs throughout the story.

Hastings notes that Poirot has ‘fewer grey hairs than when I saw you last’, which makes his friend beam with pride and reveal a little secret:

‘REVIVIT – To bring back the natural tone of the hair. Revivit is NOT a dye. In five shades, Ash, Chestnut, Titian, Brown, Black.’

After this little exchange, Poirot reveals to Hastings that he has received an anonymous letter (signed only ‘A.B.C.’) suggesting that a crime will take place in Andover on the 21st of the month. Poirot believes that the note should be taken seriously, and so the two men head over to visit another old friend and begin their new adventure.

Inspector Japp has previously dismissed the anonymous letter, but he seems pleased enough to see his old sleuthing buddies back together again. He gives Hastings a ‘hearty welcome’, but this camaraderie is short-lived. Never mind the anonymous note, we’re back to hair again. Japp’s enthusiastic surprise at seeing Hastings reveals something of a raw nerve in our narrator:

‘Quite like old days seeing you here with Monsieur Poirot. You’re looking well, too. Just a little bit thin on top, eh? Well, that’s what we’re all coming to. I’m the same.’

This does not go down well. Hastings winces, as he believed the ‘careful way’ he brushes his hair ‘across the top of [his] head’ made its thinness ‘unnoticeable’. A couple of pages later, he’s still not let it drop. When Poirot jokes that Japp ‘does not change much’, Hastings can’t resist making a dig:

‘“He looks much older,” I said. “Getting as grey as a badger,” I added vindictively.’

Poirot – tactful as ever – realizes that Hastings is still smarting after Japp’s jape, and suggests that Hastings could buy a toupee. This also does not go down well. Hastings has a massive rant, ‘roaring’ about Poirot’s ‘confounded hairdresser’ and the fact that Japp ‘always was an offensive kind of devil’, and blaming his hair loss on the ‘hot summers’ in Argentina. He eventually recovers his temper and admits he is a bit touchy about his hair, but this doesn’t stop him making several sly digs about other characters’ hair later in the book (he comments on Poirot’s moustaches drooping in the heat, and bitchily notes that Megan Barnard’s hair must have recently been permed, as ‘it stood out from her head in a mass of rather frizzy curls’). Let it go, Hastings, let it go.

Anyway… that anonymous letter… obviously, The ABC Murders isn’t really a book devoted to Hastings’s insecurities about his bald patch. It’s about a serial killer. The letter Poirot receives is only the beginning of the case. As forewarned, there is a murder in Andover (Mrs Alice Ascher), and a copy of the ABC railway guide is left near the body. Shortly afterwards, Poirot receives a letter warning that the next murder will take place in Bexhill-on-Sea.

This type of crime is a complete departure for our dynamic duo. As Hastings himself says:

‘Do you know, this is the first crime of this kind that you and I have worked on together? All our murders have been – well, private murders, so to speak.’

When the murder of Carmichael Clarke at Churston follows Betty Barnard in Bexhill, the pattern of the killings is clear, and Poirot has to face the fact that he is well and truly out of his comfort zone. The victims are unrelated, and appear to have been chosen simply for their initials. The main clue – the ABC guide left at the site of each murder – is more a ‘calling card’ than a clue. Poirot’s investigation has to unfold in quite a different way than is usual, with lengthy ‘conferences’ (with police experts and psychologists) replacing the more common one-to-one interviews. There are discourses on the nature of serial killing, expositions on the motivations of anonymous letter writers, and discussions of ‘deadly mania’ and varying types of ‘insanity’.

And it isn’t just the investigation that’s different. The narrative itself is different. Although Hastings is our narrator, and he pretty much carries out this role as he always did, he’s not the only voice we hear. Interspersed with the first-person reportage of our follicly-challenged friend are short chapters titled ‘Not from Captain Hastings’s Personal Narrative’, which are written in third person and describe the movements of a character named Alexander Bonaparte Cust. Poirot (and the rest of the gang) have no knowledge of Cust’s existence until the end of Chapter 27, and even then they only have a signature (which they misread as A.B. Case or Cash).

So The ABC Murders offers the possibility of a technique that Christie very rarely uses in her detective fiction – dramatic irony. The readers are aware of a character and a set of actions that are explicitly not known to the detective (or the narrator). From Chapter 2 onwards, we know that there is a man who has the initials A.B.C., and we know he has both a railway guide and a list of names that he’s checking off methodically. The mystery is not whodunit, but (as all those confabs about psychology and motive reminds us) whydunit. What a dramatic departure for Poirot and Hastings! No domestic intrigues or jealous family members, no murderers hiding their true nature under a façade of jovial compliance! Not a country house or an inheritance to be seen!

LOL. This is Agatha Christie we’re talking about.

The ABC Murders is an absolute gem of a bastard of a book. Of course there’s no dramatic irony. Of course the reader doesn’t know the murderer’s name before Poirot does. Of course the question is whodunit (with the ‘why’ turning out to be the most mundane of all Christie’s stockpile of motives). As with a lot of Christie’s ‘trick’ books, rereading this book is a lot of fun, as you spot all the ingredients that you weren’t supposed to notice the first time round. Christie is in cahoots with the murderer, forcing us to investigate the wrong sort of crime, when the real clues were under our nose all along.

Before I move on to the adaptation, just a couple of other things I like about Christie’s novel (aside from the fact that Hastings is back! and this time he’s paranoid about his hair!)

A few of the Poirot stories refer back to earlier stories (in more or less spoiler-y ways, depending which one you’re reading). The ABC Murders pulls off the interesting trick of referring to stories that have yet to be published (or even written). In Chapter 3, Poirot outlines his ‘ideal’ murder case:

‘“Supposing,” murmured Poirot, “that four people sit down to play bridge and one, the odd man out, sits in a chair by the fire. At the end of the evening the man by the fire is found dead. One of the four, while he is dummy, has gone over and killed him, and intent on the play of the hand, the other three have not noticed. Ah, there would be a crime for you! Which of the four was it?”’

Hastings isn’t convinced.

‘“Well,” I said. “I can’t see any excitement in that!”’

If Hastings isn’t enthused by this teaser for Cards on the Table (which was published in November 1936, just ten months after The ABC Murders), Japp has a bit more fun coming up with future plotlines for the detective:

‘“I shouldn’t wonder if you ended by detecting your own death,” said Japp, laughing heartily. “That’s an idea, that is. Ought to be put in a book.” “It will be Hastings who will have to do that,” said Poirot, twinkling[.]’

Now. There’s an idea.

In some previous posts, I’ve had a bit of a muse over Hastings’s financial situation, and the reason why he spent so much of the 20s apparently mooching off Poirot. A while ago I suggested that Hastings might be upper middle class, but without any real family money or property. His lack of aptitude or enthusiasm for a career may have left him cash-strapped and in need of free board with his illustrious associate. It seems in The A.B.C. Murders that Hastings is still trying to make a go of things in South America, though his ranch has been struggling due to the ‘world depression’. (That he’s left his wife to manage things for six months on her own isn’t too much of a surprise – after all, Poirot slyly suggested that in Peril at End House that Mrs Hastings is the real business brain in that family.) As I’ve said, we don’t learn very much about Hastings’s background in the Poirot stories, though we can deduce certain things from his character. There is a little nugget in The A.B.C. Murders though – a blink and you’ll miss it moment that confirms my suspicions about Hastings’s class and status.

Towards the end of the novel – just before Poirot meets Cust for the first time – he and Hastings overhear some children singing a song about catching a fox. Poirot comments that fox-hunting is a ‘strange sport’. Hastings is quick to defend the practice, attempting to claim that it isn’t really as cruel as it sounds. So far, so upper-crust English gent. But then, when Poirot asks if people really hunt foxes in England, his friend says: ‘I don’t. I’ve never been able to afford to hunt.’ Poor old Hastings – follicly and fiscally challenged as ever.

One final little detail that always makes me giggle before I move on (though it’s probably just me): after Poirot receives the letter warning them about Bexhill, the Chief Constable of Sussex (one of the many people drawn into the investigation) demands that the local constabulary keep a watch on any small shopkeepers with a ‘B’ initial, and also that they keep tabs on all strangers arriving in Bexhill. The local superintendent immediately objects:

‘With the schools breaking up and the holidays beginning? People are fairly flooding into the place this week.’

Nous aurons besoin d’un bateau plus gros, mon ami.

So on to the TV adaptation… ‘The A.B.C Murders’ was written by Clive Exton and directed by Andrew Grieve. With that team at the helm, it probably goes without saying that it’s a pretty faithful adaptation. All of the key elements of the story are included, and the changes that are made are necessary to fit the format (and chronology) of the TV series as a whole.

Just as in Christie’s book, we begin with Hastings arriving back in England after a period of absence. However, as we’ve not reached Murder on the Links yet, Hastings hasn’t actually moved to Argentina. Instead, he’s been on holiday to South America for six months. His old friend picks him up at the station, and the two have a warm reunion. Hastings is meant to be staying at a hotel, but Poirot won’t hear of it:

‘There is no hotel, mon ami. Until you regain your apartment, you stay with Poirot!’

This neat little switch allows for some of the dynamics of Christie’s novel to be replicated in the adaptation (despite the fact that TV Hastings hasn’t yet left home for good). It means that Japp can beam with pleasure at being reacquainted with Hastings – and also that he can comment on his thinning hair without it seeming out of place. Part of this exchange is retained from the source material, though the TV-Hastings lets it drop a lot quicker than his literary counterpart, but the earlier reference to Poirot dyeing his hair is removed (presumably because his pride in doing this wouldn’t fit with the hint dropped in the adaptation of ‘How Does Your Garden Grow?’ that Poirot is surreptitiously tinting his barnet).

What does have to be dropped, though, is the reference to Poirot having moved to a new flat. Obviously, within the TV series, he hasn’t moved at all, and so they return to a Whitehaven Mansions that is familiar from previous adventures. Similarly, the reference to Poirot having previously retired to grow vegetable marrows is removed, as we’ve not got to that yet in the TV series. Oddly, one of the more domestic scenes between Hastings and Poirot is also removed (despite the fact that this would have fitted in well with the on-screen version of their relationship). In Christie’s novel, after the misdirected Churston letter arrives, Hastings decides there’s no time to waste, and so bursts into Poirot’s bedroom and starts packing his friend’s clothes into a suitcase. To be fair, Hastings is only following suit here – after the Bexhill murder, Hastings wakes up to discover his friend standing over him, offering to bring him a cup of coffee.

The adaptation seems a bit coy about showing Hastings and Poirot popping in and out of each other’s bedrooms, folding each other’s clothes and bringing each other coffee in bed. So we lose the lovely ‘regard what you have done to my pyjamas’ line from Christie’s novel. Instead, it’s replaced by a similarly domestic (but less boudoir) scene of domestic harmony, in which the two friends do the dishes together while discussing the case.

The investigation is also played out on similar lines to that in Christie’s original novel, but with some changes made here and there to keep the episode to time. The murders and anonymous letters follow the same pattern as in the book, and the ‘Legion’ of interested parties formed to assist Poirot is retained, though it meets for the first time with much less preamble than in the novel. Miss Lemon is sadly not present in this episode, but she was also absent from Christie’s novel, despite having made her debut appearance as Poirot’s secretary the previous year (George is also missing from Christie’s novel, by the way – it’s almost as though these surrogate Watsons are just sent away the second Hastings sets foot in England).

Some things are cut from the adaptation. Many of the investigators are cut, with their roles being conflated into the all-purpose Japp (a common occurrence in the early episodes of the series). A lot of the early interviews, particularly those conducted in Andover, are also cut, as are the lengthy conferences on the nature of serial killers and mania. Presumably the programme-makers thought they were on safe ground excising most of the explanations of ‘the “chain” or “series” type of murder’ in 1992. The psychology of serial killers might have been brand-new when Christie was writing her novel (the German term Serienmörder was coined in 1930), but it needed little exposition in the early 90s. (First principles, Clarice. What does he do, this man you seek?)

However, the episode is very clear on when it is set (August 1936, which doesn’t really give Hastings time to have had a six-month holiday since their last case, so it’s a good thing I’ve given up on any sort of coherent timeline), so the programme-makers needed to keep some sense of the ‘newness’ of this type of murder investigation. To keep things concise, they give a flavour of the more academic discussions of A.B.C.’s crimes through a number of shots of newspaper stories and headlines.

Despite the condensed investigation and the chastened Poirot/Hastings relationship, the episode does a good job in capturing the flavour of Christie’s novel. There are trains everywhere, and much of the ‘action’ consists of the gang running back and forth to catch trains to other destinations. There are plenty of fab shots of steam trains hurrying across the countryside, and a number of head-to-heads with Poirot and Hastings discussing the case in various train carriages.

In addition to this, an attempt is made to keep the feel of Christie’s narration style. On the whole, the episode follows the dynamic duo’s perspective, just as the book was told through Hastings’s first-person reportage. However, interspersed throughout are little scenes of the man we’ll come to know as Cust going about his daily business in a more and more suspicious way. This is a nice touch, and a good way of remaining faithful to Christie’s novel, but it does lead to a slightly annoying anachronism early on. When we first see Cust, he is in the cinema. The man on the screen exclaims:

‘That’s where you’re wrong. I am the Dorset murderer! I killed Lily James, and all the others, and now I am going to kill you!’

Cust is enraptured by this, his excited face picked out in the flickering glow of the screen, while the rest of the audience remain obscured by shadows. The snatch of dialogue we’re given allows us (perhaps) to spot that the film is Black Limelight, which is about a series of random murders carried out by a madman and which spark a sensationalist press frenzy. It’s a very apt film to use in this first introduction to Cust, and it plays along with Christie’s game. But it came out in 1939. Sigh.

(We see Cust in the cinema again towards the end of the episode. This time he’s watching Number 17, which came out in 1932. I can only assume from this that the programme-makers wanted to suggest that Doncaster was somewhat behind the times.)

What about Cust though?

The casting in this episode has its ups and downs. But Donald Sumpter’s portrayal of Alexander Bonaparte Cust is just perfect. He is exactly the character I imagined when I read the book. In particular, Sumpter manages to capture the darkness of the character – Cust is a man who, unusually for Christie’s fiction, is utterly broken by his experiences in WWI. The scene in which Cust has a conversation with a younger man about the Churston murder is retained (though it’s conducted in a library, rather than in a public gardens, in the TV episode), and it conveys perfectly the sense of a man mentally unravelling:

‘“Sorry, sir, I expect you were in the war.”
“I was,” said Mr Cust. “It – it – unsettled me. My head’s never been right since. It aches, you know. Aches terribly.”’

Other casting is also good. Pippa Guard makes a good Megan Barnard (though she’s a tad more forceful than her literary counterpart), and Nicholas Farrell (in his first of two Poirot appearances – he’ll be back for another train-based adventure in The Mystery of the Blue Train) is a good choice for poor old Donald Fraser.

Where the casting falls down, though, is with Franklin Clarke (played by Donald Douglas). Christie’s Franklin was ‘a big fair-haired man with a sunburnt face’. When everything’s out in the open, Poirot describes ‘[t]he daring adventurous character, the roving life […] [t]he attractive free and easy manner – nothing easier for him than to pick up a girl in a café’. This really doesn’t fit with the character as portrayed by Douglas, who ditches ‘free and easy’ for ‘uptight and serious’. Annoyingly, the episode actually draws attention to this problem. After Cust’s arrest, Poirot throws a question over his guilt by asking whether or not Cust would have been able to flirt with Betty Barnard and persuade her to remove her own belt:

‘Can you imagine Monsieur Cust, as you English say, getting off with a pretty young girl?’

No we can’t. But neither can we imagine the staid old Franklin Clarke out on the pull on Bexhill beach.

These niggles aside, it’s still a great episode and a good adaptation of a very enjoyable book. I feel I may have waffled on far too much about this one (that’s what comes of taking such a long break from writing about Poirot), so I’ll end (as I often do) with some of the little details that made me smile.

Of course, I have to mentioned Hastings’s cayman.

Hastings has brought this ugly-looking specimen, which he calls Cedric, back from Venezuela as a gift for Poirot. There’s quite the story behind it as well – but Poirot and Japp seem a wee bit reluctant to hear it. Poirot is also rather unsettled to discover that he is expected to display Cedric in the middle of the ‘geometrical appearance and proportions’ of his cherished apartment.

For some people – like my husband Rob, who was watching this episode for the first time – it’s the resolution of the running Cedric joke that gets the biggest laugh. For me, though, it’s the moment when Poirot complains about the cayman’s smell and Hastings proudly announces that he’s doused it in some cologne he found in the bathroom. Poirot’s face is the perfect picture.

Cedric aside, my other favourite little snippet comes near the beginning of the episode. After Poirot and Hastings have their little reunion, we cut to Japp hard at work in his office. Except he’s not really – he’s taking down a shopping list being dictated over the phone by his wife, Emily. And he’s not happy about being asked to keep sausages in his desk drawer.

Good old Mrs Japp. If Mrs Columbo could get her own show, I have no idea why Emily Japp Investigates was never made.

And on that note, I really do think it’s time to move on. Two more episodes to get my teeth into for this ‘series’. Get my teeth into… do you get it? Well, you will do shortly.

Next up: ‘Death in the Clouds’