Air date: 06/01/1991
Published: Eighteenth story in "Poirot's Early Cases" (1974)
To be honest, some of Agatha Christie's short stories were, indeed, short, to the point of being rather spartan in detail. Such stories inevitably called for significant embellishment to bring them to the screen.
Such is the case with this tale, which opened the third series of Agatha Christie's Poirot. The original story begins with Poirot receiving a letter from the elderly Miss Amelia Barrowby, asking to meet with him to discuss a delicate matter. Before he can meet her, however, Miss Barrowby dies. On the advice of her doctor the police are called in and a post mortem reveals death to be by a large dose of strychnine poisoning.
When Poirot visits he notes the pristine garden - with the exception of an unfinished border of seashells (yes, obvious clue there!). The only real suspects are her niece, Mary Delafontaine and her husband, Henry - who live with her - and her Russian aid and companion, Katrina.
Strychnine, as Christie points out on more than one occasion in her stories, is very fast acting. The problem was that Miss Barrowby and the Delafontaines ate the same meal the evening before she died. She didn't take coffee (which would have masked the unpleasant taste of the poison). The only other possibility is the digestion powders she took, administered by Katrina. When it later transpires that most of her estate has been left to Katrina she seems the obvious suspect.
As it turns out, Poirot deduces that, unbeknown to the family cook or Katrina, the Delafontaines had purchased some of Miss Barrowby's favourite oysters, which - because they are swallowed whole - could be doctored with strychnine without the taste being noticed. The shells were hidden - you've guessed it - in the flower bed.
So much for the somewhat meagre plot. Now, the embellishments. First, the adaptation opens at the Chelsea Flower Show, where Poirot had had has a new variant of rose named after him. Miss Barrowby (who does not realise he has not yet received her letter) bumps into him and gives him a packet of "stocks" seeds (a clue to how the Delafontaines have been frittering her money away). It is quite some time before we reach the point where Poirot receives her letter at his flat.
Second, Katrina is having a romantic relationship with a Russian who works at his country's embassy. He denies all knowledge of her existence. Third, she is seen to be a devout Russian Orthodox believer, which probably makes her unpopular with her country's Communist overlords, hence the secrecy.
Hastings, who is not in the original, is suffering from what appears to be hay-fever. In the usual amusing end-piece this is discovered, in fact, to be an allergy to the "discreet manly cologne" Poirot is wearing!
Japp is not in the original; the investigating officer being one Inspector Rice. Curiously, his name is transferred in the adaptation to the doctor (not named in the original). Dr Rice looks shifty once or twice and appears at the denouement for no obvious reason other than to add to the suspense by being, presumably, a possible surprise culprit!
One other point of note: After twenty episodes, over two series, we finally arrive at a story where Miss Lemon does appear in the original! I said at the outset of this project that part of the early success of Poirot was down to the development of the 'team'. In their own different ways, Hastings, Japp and Miss Lemon all act as foils, to enable David Suchet to develop the character of Poirot.
All of them, therefore, are given larger roles on TV than in Christie's books. But this is especially the case with Miss Lemon. Apart from this story, she only appears in a couple of the short stories in "The Labours of Hercules" collection, and in "The Mystery of the Spanish Chest". She appears in just four novels: "Hickory Dickory Dock", "Dead Man's Folly", "Third Girl" and "Elephants Can Remember". Irony of ironies: By the time the TV producers came to film the last three of those novels, the 'team' had long disappeared from the scene!
In the original of this story (first published in The Strand in 1935) she is described as being 48, and of "unprepossessing appearance", with a passion for order that almost rivals that of Poirot himself. Her only passion in life is the creation of the perfect filing system. On TV this was utilised in earlier episodes.
Saturday, 3 January 2015
Friday, 2 January 2015
Interlude: "Poirot and Me"
Two more chapters in David Suchet's book cover the filming of series two. The same schedule was followed, filming beginning in the summer for a series that would be broadcast from early January.
Suchet points out that the producers wanted to introduce a little more humour in the series, and both Hastings and Japp were made to appear "a little less stiff".
There is a touching admiration in Suchet's description of the character of Poirot. "I believe that if you listen well, you are a sympathetic person", he writes - which would be a good maxim for all of us to adopt! This, he argues, is something Agatha Christie wrote into the character of Poirot. "He is not Sherlock Holmes, dismissively lecturing a policeman or a wealthy landowner about their foolishness. Poirot cares about people too much for that. He sympathises with them, and shows that he does so, in story after story."
He shares his disappointment that three of the episodes in series two, Double Sin, The Adventure of the Cheap Flat, and The Adventure of the Western Star, appeared to him "a little flat".
Chapter seven is given over entirely to The Mysterious Affair at Styles, which brought series two to an end. The broadcasting of the episode was deliberately delayed by six months so that it could coincide with the centenary of Agatha Christie's birth in the September of that year (1990). We hear something of Agatha Christie's own background, including her wartime work in a dispensary, which gave her valuable insight into poisons - a knowledge she makes frequent use of in her books.
Suchet points out that the producers wanted to introduce a little more humour in the series, and both Hastings and Japp were made to appear "a little less stiff".
There is a touching admiration in Suchet's description of the character of Poirot. "I believe that if you listen well, you are a sympathetic person", he writes - which would be a good maxim for all of us to adopt! This, he argues, is something Agatha Christie wrote into the character of Poirot. "He is not Sherlock Holmes, dismissively lecturing a policeman or a wealthy landowner about their foolishness. Poirot cares about people too much for that. He sympathises with them, and shows that he does so, in story after story."
He shares his disappointment that three of the episodes in series two, Double Sin, The Adventure of the Cheap Flat, and The Adventure of the Western Star, appeared to him "a little flat".
Chapter seven is given over entirely to The Mysterious Affair at Styles, which brought series two to an end. The broadcasting of the episode was deliberately delayed by six months so that it could coincide with the centenary of Agatha Christie's birth in the September of that year (1990). We hear something of Agatha Christie's own background, including her wartime work in a dispensary, which gave her valuable insight into poisons - a knowledge she makes frequent use of in her books.
Thursday, 1 January 2015
20. The Mysterious Affair at Styles
Air date: 16/09/1990
Published: 1920
With a symmetry that would doubtless have pleased Poirot himself, the second TV series ended as it had begun - with a feature-length adaptation of a novel.
The Mysterious Affair at Styles has a special place in the canon of crime fiction, being Agatha Christie's first published novel. As such, it introduces Hercule Poirot to the world. Hastings' famous and oft-quoted description refers to him as a man barely five feet four inches tall, with a head that was "exactly the shape of an egg" and always perched on one side, a moustache that was "very stiff and military", and an incredible neatness of attire.
The book is set towards the end of World War One, with Hastings convalescing from a war wound. The TV producers chose (wisely, in my opinion) to retain the setting. Thus - flashbacks aside - this is the only Poirot episode to be set earlier than the swish art-deco 1930s setting that had been established from the start. Hastings is frequently in military uniform, and appears to have darker hair, while Poirot has a plainer suit, a different style of neck-tie, a black bowler hat, and slightly more hair!
As with Peril at End House at the beginning of series two, the TV production is remarkably faithful to the original. The Mysterious Affair at Styles is, I think, a cracking good story (and no doubt helped to quickly establish Christie's reputation) - and the TV version does real justice to it.
It concerns a family known to Hastings, and with whom he stays as part of his convalescence. The step-mother of his friend John Cavandish - herself now a widow - has recently re-married. When the step-mother is poisoned, the finger of suspicion falls initially on the new husband, Alfred Inglethorp. Mrs Inglethorp's companion, Evie Howard, is particularly vehement in her denunciation of him.
Poirot is keen, however, that the police do not arrest and charge him, and establishes an alibi for him. Later John is arrested and his trial for murder begins.
Eventually Poirot uncovers that it was Inglethorp - in cahoots with Miss Howard - who planned and executed the whole thing. Poirot's earlier behaviour was because he believed part of Inglethorp's plan was to be charged, but then acquitted - on the basis that, under English law, a person cannot be tried twice for the same crime.
The clues come thick and fast, and the script writers did an excellent job in managing to shoe-horn most of the detail in. On the whole the sequence of events is followed very faithfully although, inevitably, there are a few omissions and condensed elements. The complication that Mrs Inglethorp died a night later than planned is ignored, while one character Dr Bauerstein (who gets arrested on charges of espionage!) is left out. In the book Cavendish's wife Mary is showing an unhealthy interest in him, possibly in response to Cavendish having a fling with a local village women, Mrs Raikes. For the TV version Cavandish's indiscretion is less apparent - in the end all that is clear is that he has given Mrs Raikes some money by way of a loan. The detail that Mrs Inglethorp was the step-mother of John (and his brother Lawrence) is omitted for TV.
The original novel also introduces Inspector Japp to the world. Hastings' description, of "a little, sharp, dark, ferret-faced man" hardly accords with the excellent TV portrayal by Philip Jackson!
Published: 1920
With a symmetry that would doubtless have pleased Poirot himself, the second TV series ended as it had begun - with a feature-length adaptation of a novel.
The Mysterious Affair at Styles has a special place in the canon of crime fiction, being Agatha Christie's first published novel. As such, it introduces Hercule Poirot to the world. Hastings' famous and oft-quoted description refers to him as a man barely five feet four inches tall, with a head that was "exactly the shape of an egg" and always perched on one side, a moustache that was "very stiff and military", and an incredible neatness of attire.
The book is set towards the end of World War One, with Hastings convalescing from a war wound. The TV producers chose (wisely, in my opinion) to retain the setting. Thus - flashbacks aside - this is the only Poirot episode to be set earlier than the swish art-deco 1930s setting that had been established from the start. Hastings is frequently in military uniform, and appears to have darker hair, while Poirot has a plainer suit, a different style of neck-tie, a black bowler hat, and slightly more hair!
As with Peril at End House at the beginning of series two, the TV production is remarkably faithful to the original. The Mysterious Affair at Styles is, I think, a cracking good story (and no doubt helped to quickly establish Christie's reputation) - and the TV version does real justice to it.
It concerns a family known to Hastings, and with whom he stays as part of his convalescence. The step-mother of his friend John Cavandish - herself now a widow - has recently re-married. When the step-mother is poisoned, the finger of suspicion falls initially on the new husband, Alfred Inglethorp. Mrs Inglethorp's companion, Evie Howard, is particularly vehement in her denunciation of him.
Poirot is keen, however, that the police do not arrest and charge him, and establishes an alibi for him. Later John is arrested and his trial for murder begins.
Eventually Poirot uncovers that it was Inglethorp - in cahoots with Miss Howard - who planned and executed the whole thing. Poirot's earlier behaviour was because he believed part of Inglethorp's plan was to be charged, but then acquitted - on the basis that, under English law, a person cannot be tried twice for the same crime.
The clues come thick and fast, and the script writers did an excellent job in managing to shoe-horn most of the detail in. On the whole the sequence of events is followed very faithfully although, inevitably, there are a few omissions and condensed elements. The complication that Mrs Inglethorp died a night later than planned is ignored, while one character Dr Bauerstein (who gets arrested on charges of espionage!) is left out. In the book Cavendish's wife Mary is showing an unhealthy interest in him, possibly in response to Cavendish having a fling with a local village women, Mrs Raikes. For the TV version Cavandish's indiscretion is less apparent - in the end all that is clear is that he has given Mrs Raikes some money by way of a loan. The detail that Mrs Inglethorp was the step-mother of John (and his brother Lawrence) is omitted for TV.
The original novel also introduces Inspector Japp to the world. Hastings' description, of "a little, sharp, dark, ferret-faced man" hardly accords with the excellent TV portrayal by Philip Jackson!
Wednesday, 31 December 2014
19. The Adventure of the Western Star
Air date: 04/03/1990
Published: First story in "Poirot Investigates" (1924)
In many of the short stories where he serves as narrator Hastings' inability to make correct logical deductions acts as an obvious foil to the 'little grey cells' of Hercule Poirot.
This contrast is made particularly apparent in the next episode, The Adventure of the Western Star, where Hastings tries so hard to make a contribution.
The story begins with actress Mary Marvell (who, for TV, becomes a Belgian actress Marie Marvelle!). She has recently received threatening letters regarding a jewel (the 'Western Star' of the title), which, the letters claim, forms one eye of an ancient Chinese god's icon. The letters claim the jewel will be taken from her. She and her film star husband, Gregory Rolf, are due to visit one Lord and Lady Yardly - who owns a parallel jewel (the 'Eastern Star') - to discuss a filming project at his estate.
While Poirot is out (to "take some air" in the original, to have his hair cut in the adaptation) Lady Yardly arrives. Hastings, seizing the opportunity, surmises she, too, has received threatening letters about her jewel.
Hastings and Poirot visit the Yardlys and, in a dramatic scene, Lady Yardly's jewel is wrenched from her neck in the dark, seemingly by a Chinaman. On returning to London they hear that the actress's diamond has also been stolen.
As it turns out, there was only ever one jewel, which belonged to Lady Yardly. Following a brief fling between the two, Rolf had blackmailed Lady Yardly to part with her jewel and to have it replaced with a paste. When her husband declared his intent to sell the diamond (to pay off debts) she had contacted Rolf, who had come up with the Chinese ruse to stage the theft of both. Rolf had fabricated the letters to his wife and, of course, Lady Yardly had never received any letters.
There are several changes of detail for the TV adaptation. In the original Poirot pursuades Rolf to return the genuine diamond to him. For TV Rolf doesn't play ball (he is in the process of selling it) and Poirot manages to retrieve it from the dodgy diamond dealer who is brokering the sale. The interested buyer is only referred to obliquely in the original; for TV he becomes Van Brax, a diamond collector who operates on the borders of legality. In fact, the production opens with Japp trying to nail him (a sub-plot that runs, somewhat unsuccessfully, throughout the episode).
In the original denouement Poirot dismisses Mary Marvell (who, in many ways, is the ultimate loser), claiming she has had the publicity, which is all she is interested in. For TV there is a touching scene (spoken largely in French) where Poirot consoles her.
And finally, back to where we began: Hastings. The original short story ends with Hastings rather grumpily accusing Poirot of making a fool of him, and storming out. This would never do for TV, where the short stories almost invariably end on a light note. So here. Hastings is, at most, a tad piqued, but it is smiles all round as he and Poirot enjoy a meal Poirot has cooked for them both.
Published: First story in "Poirot Investigates" (1924)
In many of the short stories where he serves as narrator Hastings' inability to make correct logical deductions acts as an obvious foil to the 'little grey cells' of Hercule Poirot.
This contrast is made particularly apparent in the next episode, The Adventure of the Western Star, where Hastings tries so hard to make a contribution.
The story begins with actress Mary Marvell (who, for TV, becomes a Belgian actress Marie Marvelle!). She has recently received threatening letters regarding a jewel (the 'Western Star' of the title), which, the letters claim, forms one eye of an ancient Chinese god's icon. The letters claim the jewel will be taken from her. She and her film star husband, Gregory Rolf, are due to visit one Lord and Lady Yardly - who owns a parallel jewel (the 'Eastern Star') - to discuss a filming project at his estate.
While Poirot is out (to "take some air" in the original, to have his hair cut in the adaptation) Lady Yardly arrives. Hastings, seizing the opportunity, surmises she, too, has received threatening letters about her jewel.
Hastings and Poirot visit the Yardlys and, in a dramatic scene, Lady Yardly's jewel is wrenched from her neck in the dark, seemingly by a Chinaman. On returning to London they hear that the actress's diamond has also been stolen.
As it turns out, there was only ever one jewel, which belonged to Lady Yardly. Following a brief fling between the two, Rolf had blackmailed Lady Yardly to part with her jewel and to have it replaced with a paste. When her husband declared his intent to sell the diamond (to pay off debts) she had contacted Rolf, who had come up with the Chinese ruse to stage the theft of both. Rolf had fabricated the letters to his wife and, of course, Lady Yardly had never received any letters.
There are several changes of detail for the TV adaptation. In the original Poirot pursuades Rolf to return the genuine diamond to him. For TV Rolf doesn't play ball (he is in the process of selling it) and Poirot manages to retrieve it from the dodgy diamond dealer who is brokering the sale. The interested buyer is only referred to obliquely in the original; for TV he becomes Van Brax, a diamond collector who operates on the borders of legality. In fact, the production opens with Japp trying to nail him (a sub-plot that runs, somewhat unsuccessfully, throughout the episode).
In the original denouement Poirot dismisses Mary Marvell (who, in many ways, is the ultimate loser), claiming she has had the publicity, which is all she is interested in. For TV there is a touching scene (spoken largely in French) where Poirot consoles her.
And finally, back to where we began: Hastings. The original short story ends with Hastings rather grumpily accusing Poirot of making a fool of him, and storming out. This would never do for TV, where the short stories almost invariably end on a light note. So here. Hastings is, at most, a tad piqued, but it is smiles all round as he and Poirot enjoy a meal Poirot has cooked for them both.
Tuesday, 30 December 2014
18. The Kidnapped Prime Minister
Air date: 18/02/1990
Published: Eighth story in "Poirot Investigates" (1924)
The next episode in Agatha Christie's Poirot provides a wonderful platform for our sleuth's "little grey cells".
As the title suggests, the story revolves around the kidnapping of the British Prime Minister, the day before he is due to deliver a crucial speech at a European peace conference. Poirot is called in - on the recommendation of the police - but spends most of the episode exasperating the authorities by thinking rather than acting!
The PM was supposedly kidnapped in France. The car that collected him on arrival is found abandoned, and his private secretary, Daniels, is left bound and gagged. The incident took place the day after a botched attempt was made on his life in the UK.
Poirot eventually deduces that the PM never left England. The botched shooting attempt was rigged so that a heavily bandaged 'double' could make the sea voyage to France before disappearing. Daniels was, of course, involved in the plot.
The TV adaptation is faithful to the general flow of the short story. In the original Poirot actually travels to France before realising he needs to be back in the UK. In the TV version his little grey cells (and propensity to suffer sea-sickness!) bring him to this conclusion even earlier!
Daniels' wife plays a bigger role in the TV version, allowing the writers to include yet another car chase scene (Hastings attempting to follow her after Poirot has flushed her out). Poirot waits by the phone in his flat, which justifies Miss Lemon making an appearance (she is not in the original). Japp appears briefly in the original, but has his usual beefed-up role on TV, and spends most of the episode fretting over Poirot's methods - as he was the one who recommended Poirot to the government!
The biggest change for TV, however, is provided by the kidnappers. In the original they are, in a rather vague way, German sympathisers, and the PM is eventually discovered at the home of one Frau Bertha Ebenthal. For TV Daniels, his wife and the bogus UK car driver are all pro-Irish activists (the chant Eirinn go bragh - Ireland forever - features) and the PM is found, in a final stand-off, at the ancestral home of Mrs Daniels.
Published: Eighth story in "Poirot Investigates" (1924)
The next episode in Agatha Christie's Poirot provides a wonderful platform for our sleuth's "little grey cells".
As the title suggests, the story revolves around the kidnapping of the British Prime Minister, the day before he is due to deliver a crucial speech at a European peace conference. Poirot is called in - on the recommendation of the police - but spends most of the episode exasperating the authorities by thinking rather than acting!
The PM was supposedly kidnapped in France. The car that collected him on arrival is found abandoned, and his private secretary, Daniels, is left bound and gagged. The incident took place the day after a botched attempt was made on his life in the UK.
Poirot eventually deduces that the PM never left England. The botched shooting attempt was rigged so that a heavily bandaged 'double' could make the sea voyage to France before disappearing. Daniels was, of course, involved in the plot.
The TV adaptation is faithful to the general flow of the short story. In the original Poirot actually travels to France before realising he needs to be back in the UK. In the TV version his little grey cells (and propensity to suffer sea-sickness!) bring him to this conclusion even earlier!
Daniels' wife plays a bigger role in the TV version, allowing the writers to include yet another car chase scene (Hastings attempting to follow her after Poirot has flushed her out). Poirot waits by the phone in his flat, which justifies Miss Lemon making an appearance (she is not in the original). Japp appears briefly in the original, but has his usual beefed-up role on TV, and spends most of the episode fretting over Poirot's methods - as he was the one who recommended Poirot to the government!
The biggest change for TV, however, is provided by the kidnappers. In the original they are, in a rather vague way, German sympathisers, and the PM is eventually discovered at the home of one Frau Bertha Ebenthal. For TV Daniels, his wife and the bogus UK car driver are all pro-Irish activists (the chant Eirinn go bragh - Ireland forever - features) and the PM is found, in a final stand-off, at the ancestral home of Mrs Daniels.
Sunday, 28 December 2014
17. The Adventure of the Cheap Flat
Air date: 18/02/1990
Published: Third story in "Poirot Investigates" (1924)
American organised crime, the FBI and guns all creep into this latest adventure for Hercule Poirot and his friends.
For that reason the TV adaptation opens with Poirot, Hastings and Japp all watching a James Cagney crime caper at the cinema. Poirot is suitably squeamish at the American propensity to solve everything with guns!
That typical TV opener aside, the adaptation is again very faithful to the basic outline of the original story. The mystery revolves around why a young couple, the Robinsons, should have been offered the rental on a plush flat at such a cheap price.
The reason, it turns out, is their name. An American, Elsa Hart (or Hardt in the original Agatha Christie story: why the TV producers should have omitted the 'd' I'm not sure) managed to pursuade a young Italian-American, Luigi Valdarno, to steal some naval plans from an American government department. Valdarno is later shot dead.
It transpires that Hart then fled to the UK and, having rented out a flat in the name of Robinson, then sub-lets it to a couple (with the same name) - to cover her tracks, should an American organised crime outfit send an assassin to avenge the killing of Valdarno.
There are, as ever, a few cosmetic changes to the TV adaptation. In the original the finale takes place at another home, where Elsa Har(d)t is now living; in the adaptation she is confronted in her dressing room at the slightly sleezy nightclub she is performing at.
In the original Japp is consulted early on, and appears at the end to arrest Hart. In the adaptation he is central to the investigations, hosting a somewhat overbearing FBI agent, Burt. Predictably, Burt initially has no time for Poirot - a "gumshoe" - but is a thankful admirer by the end. In the original Burt is introduced in the final two paragraphs! Miss Lemon - absent in the original - features again, pretending to be a women's magazine writer in order to find out a bit more about Ms Hart the singer. In the original Poirot and Hastings apprehend the assassin at the Robinson's flat and take him to the house where Hardt is living. This is somewhat clumsy. In the adaptation he has been watching the flat for some time, and - having eluded Poirot and Hastings at the flat - turns up at the dressing room in the finale.
Both versions have Poirot renting a flat above the Robinsons, to observe comings and goings, and then breaking into the flat by a service entrance (a coal lift in the original; a rubbish bin back stairs in the TV version).
Published: Third story in "Poirot Investigates" (1924)
American organised crime, the FBI and guns all creep into this latest adventure for Hercule Poirot and his friends.
For that reason the TV adaptation opens with Poirot, Hastings and Japp all watching a James Cagney crime caper at the cinema. Poirot is suitably squeamish at the American propensity to solve everything with guns!
That typical TV opener aside, the adaptation is again very faithful to the basic outline of the original story. The mystery revolves around why a young couple, the Robinsons, should have been offered the rental on a plush flat at such a cheap price.
The reason, it turns out, is their name. An American, Elsa Hart (or Hardt in the original Agatha Christie story: why the TV producers should have omitted the 'd' I'm not sure) managed to pursuade a young Italian-American, Luigi Valdarno, to steal some naval plans from an American government department. Valdarno is later shot dead.
It transpires that Hart then fled to the UK and, having rented out a flat in the name of Robinson, then sub-lets it to a couple (with the same name) - to cover her tracks, should an American organised crime outfit send an assassin to avenge the killing of Valdarno.
There are, as ever, a few cosmetic changes to the TV adaptation. In the original the finale takes place at another home, where Elsa Har(d)t is now living; in the adaptation she is confronted in her dressing room at the slightly sleezy nightclub she is performing at.
In the original Japp is consulted early on, and appears at the end to arrest Hart. In the adaptation he is central to the investigations, hosting a somewhat overbearing FBI agent, Burt. Predictably, Burt initially has no time for Poirot - a "gumshoe" - but is a thankful admirer by the end. In the original Burt is introduced in the final two paragraphs! Miss Lemon - absent in the original - features again, pretending to be a women's magazine writer in order to find out a bit more about Ms Hart the singer. In the original Poirot and Hastings apprehend the assassin at the Robinson's flat and take him to the house where Hardt is living. This is somewhat clumsy. In the adaptation he has been watching the flat for some time, and - having eluded Poirot and Hastings at the flat - turns up at the dressing room in the finale.
Both versions have Poirot renting a flat above the Robinsons, to observe comings and goings, and then breaking into the flat by a service entrance (a coal lift in the original; a rubbish bin back stairs in the TV version).
Tuesday, 15 April 2014
16. Double sin
Air date: 11/02/1990
Published: Thirteenth story in "Poirot's Early Cases" (1974)
My first use of the 'Little Grey Cells' for several weeks concerned a rather tame affair of genteel fraud.
Double sin sees Poirot and Hastings on holiday down in Devon. They bump into Mary Durrant, a young girl in the process of delivering a collection of miniatures to an American client of her antique-dealing aunt.
The miniatures go missing, but it quickly transpires they were in fact delivered to the American by an elderly woman. Suspicion falls on an odd-looking man, Norton Kane, who may have disguised himself as a woman and sold the collection for the cash.
Poirot works out that it is all, in fact, a scam, being perpetrated by Mary Durrant and her aunt, Elizabeth Penn, with the aim of selling the miniatures - then getting them back as stolen items, in order to sell them again!
While faithful to that basic plot, the adaptation adds a number of embellishments. Norton Kane's character is beefed up and something secretive is clearly going on - although it transpires that in reality he is planning to elope and start a new life with one Lady Amanda Manderley.
In the original Poirot goes on holiday because he is overworked. In the TV production he is somewhat listless because of a lack of interesting cases and, during the course of his vacation, makes it clear to Hastings that he is going to retire. This leads to Hastings doing much of the leg-work in trying to solve the case. A predictable car-chase is shoe-horned in (Hastings and the police pursuing Kane and Lady Manderley before eventually discovering they are not involved in the theft).
Inspector Japp is not in the original, but appears - would you believe - giving a lecture on detective work at the holiday restort Poirot and Hastings are staying in. Poirot slips in to listen, and it is Japp's complimentary words about him that renews his interest in detecting! Miss Lemon (also absent from the original) features at the beginning and end in a rather irrelevant search for some keys at Poirot's flat.
In the original the miniatures are valued at £500; our producers clearly felt this needed bumping up for television: in the adaptation they go for £1500!
Published: Thirteenth story in "Poirot's Early Cases" (1974)
My first use of the 'Little Grey Cells' for several weeks concerned a rather tame affair of genteel fraud.
Double sin sees Poirot and Hastings on holiday down in Devon. They bump into Mary Durrant, a young girl in the process of delivering a collection of miniatures to an American client of her antique-dealing aunt.
The miniatures go missing, but it quickly transpires they were in fact delivered to the American by an elderly woman. Suspicion falls on an odd-looking man, Norton Kane, who may have disguised himself as a woman and sold the collection for the cash.
Poirot works out that it is all, in fact, a scam, being perpetrated by Mary Durrant and her aunt, Elizabeth Penn, with the aim of selling the miniatures - then getting them back as stolen items, in order to sell them again!
While faithful to that basic plot, the adaptation adds a number of embellishments. Norton Kane's character is beefed up and something secretive is clearly going on - although it transpires that in reality he is planning to elope and start a new life with one Lady Amanda Manderley.
In the original Poirot goes on holiday because he is overworked. In the TV production he is somewhat listless because of a lack of interesting cases and, during the course of his vacation, makes it clear to Hastings that he is going to retire. This leads to Hastings doing much of the leg-work in trying to solve the case. A predictable car-chase is shoe-horned in (Hastings and the police pursuing Kane and Lady Manderley before eventually discovering they are not involved in the theft).
Inspector Japp is not in the original, but appears - would you believe - giving a lecture on detective work at the holiday restort Poirot and Hastings are staying in. Poirot slips in to listen, and it is Japp's complimentary words about him that renews his interest in detecting! Miss Lemon (also absent from the original) features at the beginning and end in a rather irrelevant search for some keys at Poirot's flat.
In the original the miniatures are valued at £500; our producers clearly felt this needed bumping up for television: in the adaptation they go for £1500!
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