"THE A.B.C. MURDERS" (1992) Review

 

"THE A.B.C. MURDERS" (1992) Review

As I had pointed out in my review of the 2018 adaptation of "THE A.B.C. MURDERS", Agatha Christie's 1936 novel, I have been a fan of the latter for years. And as I have also pointed out, there have been at least four adaptations. In this review, I have decided to focus on the 1992 television adaptation from the "AGATHA CHRISTIE'S POIROT" series.

Starring David Suchet as the Belgian-born detective, Hercule Poirot, "THE A.B.C. MURDERS" begin with Poirot welcoming his old friend Captain Arthur Hastings, who has traveled from his Argentina ranch for a visit to Britain. Poirot reveals a letter he had recently received from a possible serial killer named "A.B.C.", who declares his or her intention to murder a citizen of Andover, whose name starts with an "A". Following the death of one Alice Ascher in Andover, Chief Inspector Japp and Scotland Yard becomes involved when Poirot receives a second letter from the killer, who needles the detective with his/her intent to kill a second victim in a seaside town called Bexhill-on-the-Sea. After the murderer kills a third victim, an elderly millionaire from Churston; Poirot recruits the victims' relations and loved ones to assist him and Hastings in the hunt for the killer. And unbeknownst to Poirot and the police, a non-descript, middle-aged stockings salesman named Alexander Bonaparte Cust found himself present at the locations of each victim.

As much as I liked the 2018 adaptation of Christie's 1936 novel, I must admit that I prefer this version over it. Unlike the former, this television movie managed to adhere a lot closer to Christie's novel. Unlike many, I would not consider the latter as a requisite for a good adaptation. I can think of a few first-rate Christie adaptations that were not that faithful to the original source. But in the case of "THE A.B.C. MURDERS", I believe Clive Exton was wise to be as faithful as possible to Christie's 1936 novel. Why? I believe it is one of her best creations and it is a personal favorite of mine. It seemed very rare for mystery writers - especially those like Christie - to create a story about a possible serial killer. The only other time I can recall Christie creating something similar was her 1939 novel, "AND THEN THERE WERE NONE". Another aspect of this story that I enjoyed was the sense of urgency in Poirot and the police's hunt for "ABC" after the second murder had been committed. This was especially apparent in Exton and director Andrew Grieve's use of fast-paced moments of newspaper headlines, newsreel narrations and close-up shots of A.B.C. railway guides. And thanks to Grieves' direction, along with performances by David Suchet and Donald Sumpter, the television movie included an excellent scene that featured Poirot's interview with the arrested Cust.

Although "THE A.B.C. MURDERS" is a favorite of mine, it is not perfect. Once again, the series brought in Scotland Yard's Chief Inspector Japp to serve as the main police investigator in this story. I have always enjoyed Poirot and Hastings' interactions with Japp, but I do get weary of the series using Japp as the main police investigator in nearly every episode or television movie. Especially since none of the murders in this story were committed within Scotland Yard's jurisdiction. Arthur Hastings appeared in the form of two problems for me. One, I was not a fan of the running joke involving the dead Amazon Cayman that Hastings had shot and brought with him from South America. I did not find it funny or amusing. And two - as much as I have enjoyed Hugh Fraser's performances as Hastings over the years, I found Exeter's portrayal of him as this idiot rather excessive. Although I consider this adaptation superior to the 2018 miniseries, I must admit that the latter seemed to more style and punch in its production. This movie's first half had style. But after the fourth victim, I had to struggle to stay awake, due to the second half's more plodding style . . . at least until Poirot's revelation of the killer. I have a complaint about the casting, but I will bring it up later. But I do have one last complaint. The movie featured one of those scenes in which involved the police chasing the murderer after Poirot exposes the latter. God, I hate them. The "AGATHA CHRISTIE'S MISS MARPLE" with Joan Hickson was the first to utilize this trope. And unfortunately, "AGATHA CHRISTIE'S POIROT" continued it every now and then.

The performances in "THE A.B.C. MURDERS" struck me as first-rate. David Suchet gave his usual fine performance as the Belgian-born private detective, Hercule Poirot. As stated earlier, I was especially impressed by his performance in a scene in which Poirot interviews the major suspect. Although I had an issue of how Captain Arthur Hastings was written for this TV movie, I cannot deny that actor Hugh Fraser gave his usual excellent performance as Poirot's companion and best friend. Philip Jackson was excellent as usual as the tart-tongued Chief Inspector Japp. There were two other performances that stood out for me. One came from Pippa Guard, who gave an excellent performance as Megan Barnard, the blunt and tart-tongued sister of the second victim, Betty Barnard. But the one stand-out performance came from Donald Sumpter, who portrayed the stocking salesman, Alexander Bonaparte Cust. Sumpter did a superb job in making such a non-descript personality so interesting and slightly creepy. The rest of the cast provided first-rate support - including Nicholas Farrell, Cathryn Bradshaw, Nina Marc, David McAlister, Ann Windsor, Peter Penry-Jones, Vivienne Burgess and Donald Douglas. Speaking of the latter - he had been cast as Franklin Clarke, the younger brother of the killer's third victim, Sir Carmichael Clarke. I have been aware of Douglas ever since I was a kid and have always regarded him as a first-rate actor. But I believe he had been miscast as Franklin Clarke, who had been described as a handsome, charming and charismatic man in his early-to-mid 40s. Although attractive, Douglas had been in his late 50s when he portrayed Franklin. Also, he seemed to come across more like some hale and hearty Englishman than what Christie had described the character in her novel.

I have no problems with the television movie's production values. In all honestly, I would rate the movie's production as solid. There was nothing mind boggling about it. Rob Harris' re-creation of London and other parts of Great Britain struck me as solid. Only his discovery of the De La Warr Pavilion in Essex struck me as a godsend. I found Christopher Gunning's score solid, but not memorable, along with Peter Wenham's art direction. However, I must admit that Carlotta Barrow's set decorations; especially in scenes that featured Alice Ascher's store, the De La Warr Pavilion, Cust's apartment and various hotel rooms, and Poirot's own apartment; struck me as above par and worthy of notice. But I have to give kudos to Barbara Kronig, whom I believe did a superb job of re-creating the 1936 fashions for characters from various backgrounds and personalities.

Anyone with common sense would know or realize there is no such thing as a perfect movie or television production. This certainly applies to "THE A.B.C. MURDERS", the 1992 television adaptation to Agatha Christie's1936 novel. The pacing for the movie's second half had threatened to bog down during a small period of time. The joke surrounding Arthur Hastings' dead cayman had become tiresome and never-ending. And I believe one of the characters had been miscast. However, these flaws seemed trifling in compared to the movie's virtues. The cast led by David Suchet struck me as first-rate. Most of the television movie possessed an energy and style, thanks to Andrew Grieve's direction. And screenwriter Clive Exton had written a first-rate adaptation. I believe he did this after recognizing the excellent quality of the source material. "THE A.B.C. MURDERS" is one Agatha Christie adaptation I will continue to enjoy for years to come.

"THE A.B.C. MURDERS" (1992) Photo Gallery

 

Below are images from "THE A.B.C. MURDERS", the 1992 adaptation of Agatha Christie's 1936 novel. The television movie starred David Suchet as Hercule Poirot:




"THE A.B.C. MURDERS" (1992) Photo Gallery

"EVIL UNDER THE SUN" (2001) Review

"EVIL UNDER THE SUN" (2001) Review

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

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

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

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

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

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

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

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

"THE MYSTERIOUS AFFAIR AT STYLES" (1990) Review

"THE MYSTERIOUS AFFAIR AT STYLES" (1990) Review

As a long time reader of Agatha Christie's novels, I have been well aware of her first novel that was published in 1920, namely "The Mysterious Affair at Styles". I read the novel once. But if I must be honest, I never became a fan of it.

Due to my lackluster feelings for the novel, it took me a while to watch the television adaptation of it, which aired on ITV's "AGATHA CHRISTIE'S POIROT" back in 1990. But eventually I got around to it and was amazed to discover that it had been the second Christie novel to be adapted as a feature-length film on that series. Another amazing aspect of "THE MYSTERIOUS AFFAIR AT STYLES" is that it is the first of two or three episodes that was not set during the 1930s decade. In the case of this film, it was set in 1917, during World War I.

The movie opens in London with Captain Arthur Hastings on sick leave from military duty. Hastings seemed to be suffering from a mild case of post traumatic stress disorder. An encounter with an old friend named John Cavendish leads him to eagerly accept the latter's invitation to visit his family's estate - Styles - in Essex. During his visit, Hasting's meets John's family:

*Emily Inglethorp, John's wealthy stepmother and mistress of Styles
*Alfred Inglethorp, her much younger new husband, who is viewed as a fortune hunter
*Mary Cavendish, John's wife
*Lawrence Cavendish, John's younger brother
*Evelyn Howard, Mrs. Inglethorp's companion, who dislikes Mr. Inglethorp
*Cynthia Murdoch, the orphaned daughter of a family friend

Hastings also reunites with an old acquaintance he had met before the war - a Belgian detective named Hercule Poirot, who has become a war refugee. Due to Mrs. Inglethorp's generosity, Poirot has managed to find a place in the nearby village to harbor his fellow Belgian refugees in the area.

When the Styles Court's residents wake up to find Mrs. Inglethorp dying of strychnine poisoning, they learn from the local doctor that she had been murdered. Hastings recruits the help of Poirot to investigate the murder. They discover that John Cavendish will automatically inherit Styles Court upon his stepmother's death, due to being the estate's vested Remainderman. His brother Lawrence will also inherit a nice sum of money. However, the income left to Mrs. Inglethorp by the late Mr. Cavendish would be distributed, according to her will. However, Mrs. Inglethorp was heard arguing with a man about his infidelity - either her stepson John or her husband Alfred. She made a new will after the quarrel, but no one can find it. Two suspects would end up falling under the suspicions of the law before Poirot can reveal the murderer.

"THE MYSTERIOUS AFFAIR AT STYLES" is the kind of adaptation that most fans of Christie's novel absolutely adore. Due to Clive Exton's script, it is a detailed and nearly faithful adaptation of the novel. And for most moviegoers and television viewers these days, a faithful adaptation to a literary source is very important to the quality of a production. My view on the matter is a bit more ambiguous. It all depends on whether a faithful adaptation translate well to the movie or television screen. In the case of "THE MYSTERIOUS AFFAIR AT STYLES", I would say that Clive Exton's faithful adaptation served the story rather well. But the only reason I harbor this view is that I cannot think of a way how any change might serve the story. Because honestly? Christie's 1920 novel did not exactly rock my boat. And I can say the same about this television movie.

"THE MYSTERIOUS AFFAIR AT STYLES" is not a terrible story. It is a pretty solid tale that made it a little difficult for me to guess the murderer's identity. The story also featured mildly interesting characters that actually left me wondering about their fates. I especially found the stormy marriage between John and Mary Cavendish particularly interesting. And I also found myself scratching my head over Mrs. Inglethorp's marriage to the younger and obviously unlikable Alfred Inglethorp. I had originally assumed that this tale featured the first meeting between Poirot and Hastings. But as it turned out, the two men first met during a murder investigation in Belgium before the war. Pity. Come to think of it, "THE MYSTERIOUS AFFAIR AT STYLES" did not feature the first meeting between Poirot and Scotland Yard Inspector Japp. They had first met before the war, as well. But the story did feature the first meeting between Hastings and Japp.

Okay . . . look. "THE MYSTERIOUS AFFAIR AT STYLES" is a pretty solid story. It is filled with competent performances from the cast, including David Suchet, Hugh Fraser, and Philip Jackson as Poirot, Hastings and Japp. I was especially impressed by Gillian Barge as Emily Inglethorp, Michael Cronin as Alfred Inglethorp, Joanna McCallum. I was especially impressed by David Rintoul and Beatie Edney as the emotional John and Mary Cavendish. I do have to give kudos to production designer Rob Harris of his re-creation of World War I England and also costume designer Linda Mattock. But in the end, this television adaptation of Christie's story no more wowed me than the 1920 novel did. The most interesting aspects of "THE MYSTERIOUS AFFAIR AT STYLES" proved to be the World War I setting and that it served as the beginning of Poirot's relationship with both Hastings and Japp.

Before one comes away with the idea that I disliked "THE MYSTERIOUS AFFAIR AT STYLES", I do not. Like I have been stating throughout this review, it is a pretty solid production. I am certain that many "AGATHA CHRISTIE'S POIROT" fans would love this movie, due to screenwriter Clive Exton's faithful adaptation. I liked the movie. But if I must be honest, my true reaction to it was simply - "Eh, not bad."

"DEATH IN THE CLOUDS" (1992) Review

"DEATH IN THE CLOUDS" (1992) Review

There are two things one should know about Agatha Christie’s 1935 novel, "Death in the Clouds". One, it happened to be one of those ”murder in a locked room” type of mysteries that she rarely wrote about. And two, I have not read the novel since high school. 

I would not exactly rate "Death in the Clouds" as one of my favorite Christie novels. But I must admit that screenwriter William Humble wrote a solid adaptation for the "AGATHA CHRISTIE’S ‘POIROT’" television series. Starring David Suchet as Belgian detective, Hercule Poirot, "DEATH IN THE CLOUDS" focused upon the murder of a French woman named Madame Gisele aboard a Paris-to-London flight across the English Channel. Madame Gisele’s profession as a moneylender (and occasional blackmailer) to the British and French members of high society has made her wealthy, feared and hated. Her murder occurred during a flight that included Poirot as one of the passengers. Other passengers and suspects included:

*Lady Horbury – the wife of a British aristocrat and former actress

*Jean Dupont – a French archeologist in need of funds for an African expedition

*Jane Grey – stewardess for Empire Airways (in the novel, she was a hairdresser’s assistant on holiday)

*Norman Gale – a British dentist on holiday, who falls in love with Miss Grey

*Venetia Kerr – British aristocrat and close friend of Lord Horbury

*Daniel Clancy – a British mystery author

*Anne Gisele – Madame Gisele’s illegitimate daughter, who was impersonating as Lady Horbury’s maid

Money, class and relationships figured prominently in ”DEATH IN THE CLOUDS”. With Arthur Hastings making a no-show in this tale, Poirot enlisted the help of fellow passenger Norman Gale and stewardess Jane Grey to assist him. And thanks to solid performances from Sarah Woodward and Shaun Scott, the pair proved to be mildly entertaining and made a romantic pair. Cathyrn Harrison gave a complex and interesting performance as Lady Horbury, a former actress who married into the British aristocracy and found herself in debt to Madame Gisele. Harrison’s performance conveyed a conflicted woman that hid her insecurities regarding her marriage behind a haughty and rude mask, and a gambling habit. Actor Roger Heathcott’s portrayal of mystery writer Daniel Clancy struck me as slightly bizarre and interesting. Philip Jackson’s Chief Inspector Japp was just as annoying and entertaining as ever. It was easy to for me to see why the Parisian police considered him an annoyance. However, I found his character’s control of the case on French soil very implausible. And David Suchet gave his usual, competent performance as Hercule Poirot. No . . . I take that back. In ”DEATH IN THE CLOUDS”, his Poirot seemed warmer than usual. Perhaps his friendship with the lovebirds – especially Jane Grey – brought out more of his warmth.

I would not view ”DEATH IN THE CLOUDS” as one of Agatha Christie’s more unusual novels. Well, she did use the ”murder in a locked room” plot device for this particular story. But I found nothing that remarkable about it. I could say the same about this production. However, Humble did a solid job in adapting Christie’s novel. I found his decision to convert the Anne Gisele character into a possible suspect as unnecessary. Her role as a suspect did not go anywhere, once the movie featured her brief wedding and revelation to the police as Madame Gisele’s daughter. The humor of Japp’s presence in Paris tired quickly, once I realized that his appropriation of the case on French soil was very implausible. But Humble, with Stephen Whittaker’s direction, did a solid job in maintaining the movie’s mystery and most of the main plot. And I have to give kudos to both men for using the novel’s original publication year as an excuse to add the Fred Perry/Gottfriend Von Cramm 1935 match at the French Open as a historical backdrop.

One only has to look at ”DEATH IN THE CLOUDS” for a few minutes and correctly assume that it had been filmed during the 1990s. The movie has that sleek, Art Deco style that dominated the production of ”AGATHA CHRISTIE’S POIROT” during that period. But since a good deal of this particular story was set in Paris, production designer Mike Oxley’s intent upon maintaining the Art Deco style did not serve that particular setting very well. The Parisian atmosphere seemed to be dominated by stark images of tourist attractions such as the Eiffel Tower and the Sacre Coeur Basilica (which Poirot insultingly referred to as an enormous birthday cake). But I must admit that costume designer Barbara Kronig did an excellent job in recapturing the styles of the mid-1930s, especially for the Lady Horbury character. However, I cannot say the same about the women’s hairstyles. I understand that some women wore chignons during the 1930s. Unfortunately, most of the female characters in this movie wore one, which I found rather ridiculous. Only the Venetia Kerr character sported a 1930s soft bob.

”DEATH IN THE CLOUDS” had a few problems that included Japp’s implausible presence of Chief Inspector Japp investigating the case in Paris. But it still turned out to be a believable and intelligent movie. For me, it was one of the better feature-length movies that aired on ”AGATHA CHRISTIE’S POIROT”.

"THE MYSTERIOUS AFFAIR AT STYLES" (1990) Photo Gallery

Below are images from "THE MYSTERIOUS AFFAIR AT STYLES", the 1990 television adaptation of Agatha Christie's 1920 novel. The movie starred David Suchet as Hercule Poirot: 



"THE MYSTERIOUS AFFAIR AT STYLES" (1990) Photo Gallery

"THE MURDER OF ROGER ACKROYD" (2000) Review

"THE MURDER OF ROGER ACKROYD" (2000) Review

As many fans of Agatha Christie are aware, one of her most highly acclaimed and controversial novels is "The Murder of Roger Ackroyd". I had checked the Internet to see how many adaptations had been made from well-regarded tale. I was surprised to learn there were at least seven adaptations, considering its difficult plot twist. The third to the last adaptation proved to be the last adaptation was the 103-minute television movie that aired on ITV's "AGATHA CHRISTIE'S POIROT"in 2000.

"THE MURDER OF ROGER ACKROYD" seemed like your typical Christie novel. After retiring to the small village of King's Abbott, Belgian-born detective Hercule Poirot stumbles across a mystery in which an old friend of his, an industrialist named Roger Ackroyd has been murdered. Sometime earlier, another friend of Ackroyd, a widow named Mrs. Ferrars, had committed suicide when she is suspected of killing her husband. Another murder occurs before Poirot, with the help of Chief Inspector Japp and local physician Dr. James Sheppard, solves the murder.

Screenwriter Clive Exton made some changes to Christie's novel. He deleted a few characters, changed Poirot's relationship with Ackroyd from simply neighbor to old friend, and added Chief Inspector Japp to the cast of characters. This last change greatly affected the story's narrative. Christie's novel was narrated by the Dr. Sheppard character. By having Japp replace him as Poirot's closest ally, Exton nearly made Dr. Sheppard irrelevant. Exton ended up doing the same to a character in 2001's "MURDER IN MESOPOTAMIA", when he added Arthur Hastings to the story, allowing the story's true narrator, Nurse Amy Leatheran to become irrelevant. However, the addition of Japp to "THE MURDER OF ROGER ACKROYD" transformed Christie's story from a unique tale, to something . . . well, rather typical. With the addition of Japp, the story became another typical Christie murder mystery set in a small village. Pity. 

I also believe that Exton damaged Christie's original narrative even further with other major changes. One, he revealed major hints of the killer's identity before Poirot could expose the former. And once the killer was exposed, audiences were subjected to a theatrical and rather silly chase scene throughout Ackroyd's factoy, involving the police. And if I must be honest, I found myself wondering why on earth Poirot had decided to retire as a detective and move to the country in the first place. How long had he been gone before his reunion with Chief Inspector Japp?

Was there anything I like about "THE MURDER OF ROGER ACKROYD"? I thought it was a tasteful movie, thanks to Rob Harris' production designs that beautifully recaptured rural England in the mid-1930s. His work was ably complimented by Katie Driscoll's art direction, and Charlotte Holdich's costume designs. In fact, I can honestly say that the latter did a first-rate job in not only creating costumes for that particular era, but specifically for each character. Although some of Exton's narrative changes robbed the story of its famous plot twist and featured a badly-handled revelation of the murderer, I will give kudos to the screenwriter for creating a plausible murder mystery that made it somewhat difficult for any viewer not familiar with Christie's novel, to guess the killer's identity . . . to a certain point.

The movie also featured some solid performances. David Suchet gave his usual competent performance as Hercule Poirot. He had one rather amusing scene in which the Belgian detective struggled with the vegetable marrows in his garden. I could say the same about Philip Jackson's performance as Inspector Japp. Both Oliver Ford-Davies and Selina Cadell were amusing as the much put upon Dr. James Sheppard and his very nosy sister, Caroline. I read somewhere that the Caroline Sheppard character may have been a forerunner of the Jane Marple character. Malcolm Terris gave a very emotional performance as the story's victim, Roger Ackroyd. Both Daisy Beaumont and Flora Montgomery were also effectively emotional as Ursula Bourne and Flora Ackroyd (the victim's niece) - the two women in the life of Ralph Paton, Ackroyd's stepson and major suspect. Speaking of the later, Jamie Bamber gave a solid performance as Ralph. But honestly, he did not exactly rock my boat. However, I was impressed by Roger Frost's portrayal of Ackroyd's butler, Parker. I thought he did a very good job in portraying the different aspects of the competent, yet rather emotional manservant.

Looking back, I really wish that Clive Exton had maintained Christie's narrative style for this television adaptation of her 1926 novel. I believe it could have been possible. By changing the narrative style and adding the Chief Inspector Japp character to the story, Exton transformed "THE MURDER OF ROGER ACKROYD" from a unique story to a typical Christie murder mystery. Pity.

"ONE, TWO, BUCKLE MY SHOE" (1992) Review

"ONE, TWO, BUCKLE MY SHOE" (1992) Review

Nearly twenty years ago, ITV's "AGATHA CHRISTIE'S POIROT" aired an adaptation of Agatha Christie's 1940 novel. Not only was "One, Two, Buckle My Shoe" considered one of Christie's darkest novels, due to its political overtones, the 1992 television adaptation acquired the same reputation. 

Directed by Ross Devenish and adapted by Clive Exton, "ONE, TWO, BUCKLE MY SHOE" centered on Hercule Poirot's investigation into the death of his dentist, one Dr. Henry Morely, which occurred less than two hours after the former's last appointment. Poirot's police colleague, Chief Inspector Japp of Scotland Yard, believes that Dr. Morely had committed suicide, because another one of his clients had died from an overdose of anaesthetic. However, Poirot and Japp eventually discovered that both Dr. Morely and Mr. Amberiotis' deaths may be tied to possible attempts on the life of a banker named Alistair Blunt, who also happened to be a client of the dentist. Other suspects in the case include a former actress-turned-missionary named Mabelle Sainsbury Seale, who knew Mr. Blunt and his first wife back in India, during the 1920s; a member of the British Blackshirts named Frank Carter, who also happened to be the boyfriend of Dr. Morely's assistant; Mr. Blunt's American sister-in-law, Mrs. Julia Olivera; and the latter's daughter, Jane Olivera.

As I had stated earlier, many fans of Christie's novel and the "AGATHA CHRISTIE'S POIROT" seemed to harbor a very high regard of this particular story. I must admit there is a good deal about this production that I found impressive. Rob Harris's re-creation of 1936-37 London was superb. In fact, I would go as far to say that out of the many episodes and television movies that aired on "AGATHA CHRISTIE'S POIROT", I would count Harris' production designs as among the best. Harris' work was ably supported by Barbara Kronig's costume designs and Chris O'Dell's photography. And I also had to compliment Andrew Nelson's editing, especially in the sequence that featured the details that led to Dr. Morely's murder. I thought the entire scene was well paced.

The performances also struck me as first-rate. David Suchet was in fine form as Belgian detective, Hercule Poirot. He was ably supported by Philip Jackson's wry performance as Scotland Yard's Chief Inspector Japp. I realize that many may have been a little upset by the lack of Arthur Hastings and Miss Lemon's presence. But to be honest, I did not really miss them. Suchet and Jackson made a pretty strong screen team, as they have done in a few other productions. 

Most of the supporting cast gave solid performances, including Joanna Phillips-Lane, Laurence Harrington, and Carolyn Colquhoun. However, there were times that I found the latter's performance as Mabelle Sainsbury Seale to be a little ponderous. Peter Blythe did a good job in conveying both the charm and dignity of his character, Alistair Blunt, even if he came off as a bit smug toward Poirot, a man trying to prevent his murder. Helen Horton gave an amusing performance as Blunt's American sister-in-law, Julia Olivera. And I am relieved that her portrayal as a middle-aged American woman did not collapsed into a cliche, even if Clive Exton's screenplay gave her nearly every opportunity to do so. But I believe the best performance came from Christopher Eccleston, who portrayed one of the suspects - the boyfriend of Dr. Morely's assistant and a follower of the British Union of Fascists. Not only was Eccleston's performance brimmed with energy, he managed to inject sympathy into a character most would regard with disgust.

I wish I could say that "ONE, TWO, BUCKLE MY SHOE" was one of the best Christie adaptations I have seen. Many seemed to think so. I believe it had the potential to be one of the best. But I also believe that Clive Exton's script was riddled with a few flaws. One, Clive Exton wrote a convoluted script, which is not surprising since it was based upon a convoluted novel. Two, Exton and director Ross Devenish should have never included that prologue in 1925 India. It literally made it easier to solve the murders. And three, the script never made it clear why Alistair Blunt was needed to maintain some balance within Britain and Europe's political and economic climates. Why was it so important for Scotland Yard to discover who was trying to kill him? And three, the nursery rhyme chant that permeated the movie really got on my nerves. Why was it that every time ITV aired an Agatha Christie adaptation that featured a title from a nursery rhyme, it had to include an annoying and heavy-handed literary symbol into the production?

Despite a convoluted story and a prologue that made it easier to identify the murderer, I must admit that I still rather like "ONE, TWO, BUCKLE MY SHOE". It has a lot of style. I thought it did a great job in re-creating mid-1930s London. And it featured some top-notch performances led by David Suchet, Philip Jackson and a young Christopher Eccleston.

"ONE, TWO, BUCKLE MY SHOE" (1992) Image Gallery

Below are images from "ONE, TWO, BUCKLE MY SHOE", the 1992 adaptation of Agatha Christie's 1940 novel. Directed by Ross Devenish, the movie starred David Suchet as Hercule Poirot: 


"ONE, TWO, BUCKLE MY SHOE" (1992) Image Gallery