Agatha Christie’s ABC Murders with Suchet’s Poirot

DATELINE:  A Worthy Series

ABC

Suchet as the inimitable Hercule

David Suchet’s bravissimo performance over two decades as Hercule Poirot might be appreciated many times. This week we took in The ABC Murders again.

The climactic murder scene takes place in a cinema where Hitchcock’s Number Seventeen is on the screen as a backdrop for the serial killer. We suspect the Master of Suspense would approve.

The Agatha Christie story became the first full-length movie episode from the delightful TV series. For that reason alone, the plot is clever and intriguing. Christie uses a device that brings together the grieving family of the serial ABC serial killer as Poirot’s band of intrepid sleuths.

The notion that the victims’ family would want to take an active role in catching their beloved one’s killer is compelling, even if Inspector Japp (Philip Jackson) is exasperated by his friendly nemesis with the mincing steps, and obsessive neatness.

Poirot’s demeanor as a private investigator remains firm in its resolve, but already we begin to see in the nuances of Suchet’s performance that Poirot is beginning to become jaded and horrified by the endless murders he deals with.

Indeed, this serial killer sends Poirot a series of letters, challenging him to stop the carnage. It becomes so personal that the Belgian detective is more distracted by his moral repugnance.

As his aide-de-camp Captain Hastings, Hugh Fraser matches Suchet as the obtuse man of action—as they both seem weary from four seasons of sadistic killers. Pauline Moran’s Miss Lemon, Poirot’s dedicated secretary, is absent from this episode.

Christie had such brilliant creativity in finding ways to develop characters and contrive plots that are truly mysteries to entertain an audience.

Over the length of the Poirot series, bringing all the stories to film (something the Jeremy Brett Sherlock Holmes series could not do), is a monumental achievement, matching the flavor of the literature of the Christie stories with film plays. A large debt is owed to Suchet, the driving force behind the detective.

 

 

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Christie Pulls the Curtain on Hercule Poirot

 DATELINE: TV MASHUP

 Big Four- 25 Years of Poirot!

Agatha Christie’s posthumous novel about the end of Poirot fits the long-running series with David Suchet.

Curtain: Poirot’s Last Case is a disturbing and cynical finish to the great detective whose use of “little gray cells” so enchanted murder mystery fans.

Over the years, the detective (perhaps like his creator) had grown tired of the evil and murderous ways of sociopaths. So, Christie had Poirot in his ill health tackle the ultimate serial killer in the location where he had solved his first case thirty years earlier.

Captain Hastings (Hugh Fraser) returns for a last hurrah—and turns out to be nearly as dangerous and suspicious as any other suspect.

Confined to a wheelchair and looking exhausted with his heart condition, Poirot seems less the agile crime solver in 1949. He seems doomed, likely a victim as much as the detective he always epitomized.

Indeed, Poirot’s anguish over his own role in murder has driven him to religion—as he grips his little rosary beads, fearing killers had driven him to do their bidding.

Nevertheless, the little Belgian has a few tricks up his sleeve as he will stop a serial killer from continuing his cruel murders that misled police to arrest and courts to convict the wrong people.

As a moral man, Poirot may be more distressed over what he must do than his audience. He feels his showboating style has returned and for that he is most guilty.

The final case for Hercule Poirot is brilliant, and he is equal to the task. Older and wiser than when he made his trips down the Nile or on the Orient Express, Poirot came to the end Agatha Christie wanted. She saved her best for the last.