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Agatha Christie-Related Books & Novels Mystery & Suspense

DESTINATION UNKNOWN

Written by Agatha Christie.

SUMMARY:

First published in 1954, William Morrow (HarperCollins Publishers) released this 248-page paperback edition in 2012.  Over the course of several months, notable scientists from various countries have mysteriously vanished.  The latest is American nuclear physicist Dr. Thomas Betterton, though now working for a British company, who disappears while attending a conference in Paris. 

Two months later, British intelligence grimly has too few leads.  Yet, one of them is Betterton’s stressed wife, Olive, who claims to have obtained medical clearance to seek some much-needed and secluded rest overseas. 

A fatal plane crash in Casablanca soon claims Olive Betterton’s life, but the enigmatic British operative, Jessop, concocts a makeshift strategy.  Having dissuaded a distraught Hilary Craven from suicide, Jessop recruits the lookalike Miss Craven to impersonate the late Mrs. Betterton.  With any luck, she could help him identify the shadowy perpetrators behind this international scheme.  Essentially, if Hilary Craven indeed has a death wish, Jessop assures that a covert suicide mission on behalf of world security will be far more exciting than a fatal overdose of sleeping pills. 

Though Hilary’s mission initially goes according to plan, the opposition’s unpredictability traps her in an African compound where there is no telling who she can trust. 

Note: The novel’s alternate title is So Many Steps to Death.

REVIEW:

Considering Destination Known is one of Agatha Christie’s few novels not yet adapted for film, one might suppose this Cold War espionage caper is justifiably obscure.  Such an assessment owes more to a mixed-bag plot that could readily be tweaked for movies or television – either as a traditional period piece thriller or even a perverse black comedy. 

More specifically, the pulpy storyline is intriguing for the first third setting up everywoman Hilary Craven’s undercover mission.  As an amateur spy, Hilary’s impersonation of Olive Betterton comes off generally well-played. 

The plotting, however, bogs down upon Hilary’s journey with potential criminals into a remote corner of Africa where nefarious scientific research is peddled behind the Iron Curtain’s ingenious front: a leper colony.  With Hilary now effectively isolated, Destination Unknown struggles keeping readers tuned into the suspense of her plight.  The good news is that, once the enigmatic Jessop resurfaces, a final series of plot twists makes dramatic sense and rewards Destination Unknown with a solid finish.

For readers seeking to complete their Christie bucket list, rest assured that Destination Unknown does not fall among her worst literary works.  More so, the tinge of racism is not present, nor does she torment readers with unnecessary social rants later plaguing her books during the 1960’s and 1970’s.  Conveyed as an average person surrounded by self-absorbed super-geniuses, Hilary Craven supplies a relatable and likable enough protagonist to take a ride with. 

If anything, Christie’s Destination Unknown lands on a slippery slope between enjoyable spy games and a middling read.  That being the case, the book’s likable finale merits giving Destination Unknown at least a chance for re-discovery.  

Note: Offering potentially better reads are these Christie thrillers with British female protagonists caught up in espionage: The Man in the Brown Suit and They Came to Baghdad.  Both books possess a breezily humorous flair that Destination Unknown mostly does not.

ADDITIONAL FEATURES:

The first page is the author’s biography.  Included is Christie’s dedication to her son-in-law, Anthony Hicks.

BRIAN’S ODD MOON RATING:                             6 Stars

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Agatha Christie-Related Anthologies Books & Novels Mystery & Suspense

AGATHA CHRISTIE’S MARPLE – TWELVE NEW MYSTERIES

Written by (Various Authors)

SUMMARY:

In 2022, HarperCollins released this 370-page hardcover anthology heralding Miss Jane Marple’s return to crime-busting after forty-five years.  In short story form, a dozen female authors offer their own takes on the elderly amateur sleuth from St. Mary Mead.  Resurrecting some other familiar faces, this anthology consists of:

  1. “Evil in Small Places” (by Lucy Foley): Miss Marple’s visit to a childhood classmate coincides with a choir member’s murder in the quaint English village of Meon Maltravers.
  2. “The Second Murder at the Vicarage” (by Val McDermid): In a sequel to Christie’s first Marple novel, vicar Len Clement narrates the mystery of a former employee’s homicide inside his home.
  3. “Miss Marple Takes Manhattan” (by Alyssa Cole): Set in the Early 1960’s, Miss Marple accompanies nephew Raymond and his wife, Joan, to explore New York City.  Comic mayhem ensues when they attend a dress rehearsal for an Off-Broadway play adapting one of Raymond’s novels.
  4. “The Unravelling” (by Natalie Haynes): A merchant couple in St. Mary Mead is suspected of killing an enigmatic stranger after a public scuffle with the husband.
  5. “Miss Marple’s Christmas” (by Ruth Ware): Sharing a low-key Christmas Eve with family and old friends, Miss Marple  contemplates who may have stolen a fellow guest’s valuable pearl necklace.  This tale spells out its homage to Dorothy L. Sayers’ Hangman’s Holiday (with Lord Peter Wimsey).
  6. “The Open Mind” (by Naomi Alderman): In Oxford, a fatal drug overdose at a high-profile academia dinner makes Miss Marple suspect what really precipitated the tragedy.
  7. “The Jade Empress” (by Jean Kwok): Aboard a cruise ship to Hong Kong, Miss Marple probes the ominous deaths of two passengers. 
  8. “A Deadly Wedding Day” (by Dreda Say Mitchell): In a sequel of sorts to A Caribbean Mystery, Miss Marple and her friend, Bella Baptiste, probe a murder-mystery at the wedding reception of Bella’s strangely evasive niece. 
  9. “Murder at the Villa Rosa” (by Elly Griffiths): A crime novelist seeks inspiration at a scenic Italian hotel, only to encounter some peculiar fellow guests, including Miss Marple.
  10. “The Murdering Sort” (by Karen M. McManus): Narrated by Raymond & Joan West’s teenage granddaughter, Nicola, she describes how amateur sleuthing evidently runs in the family.
  11. “The Mystery of the Acid Soil” (by Kate Mosse): Visiting a convalescing friend, Miss Marple stumbles into a situation where a woman’s disappearance is book-ended by two peculiar deaths.
  12. “The Disappearance” (by Leigh Bardugo): Called home from London by an old friend, Miss Marple senses a roguish fiancé’s disappearance is linked to a young female gardener’s tragic death.

Notes: The book’s U.K. title is simply Marple.  Also, these stories aren’t contained by any internal chronology.  The stories by Ruth Ware and Leigh Bardugo, however, both clearly occur after The Mirror Crack’d from Side to Side.  Given Dolly Bantry is evidently widowed at the time of “The Disappearance,” Bardugo’s story fittingly concludes this anthology.

REVIEW:

Whether by loving homage or by contractual design, Christie afficionados will spot regular name-dropping to Marple’s world, i.e. cases she solved long ago or old friends she knows.  Still, readers will be left to define their own good, the bad, and the boring amongst this fresh assortment of Miss Marple whodunnits.  It’s a given that some stories mimic Christie’s clichéd Marple formula by resolving a baffling mystery with last-minute, seemingly impossible deductions (let’s just refer to these clues and name-dropped culprits conjured up from thin air as ‘Marple-isms’).    

To minimize confusion comparing authors, the fairest means of discerning which stories are remarkable (or not so much) is briefly analyzing them one by one.

  • * “Evil in Small Places.”  Though some plot details are too convenient, the opener is worthwhile.  Most significantly, Lucy Foley devises a final stretch that even Christie might well have applauded.
  • “The Second Murder at the Vicarage.”  Including the Clement family’s welcome return, Val McDermid’s sequel is mostly promising.  Yet, like Christie’s worst cop-outs, this double-homicide’s solution resorts to Marple-isms where incriminating evidence late in the story isn’t fair game to readers.   
  • * “Miss Marple Takes Manhattan.”  Briskly concocting allusions to timeless snobbery, communism, racism, and no doubt a few other ‘-isms,’ the author’s humorous snark surpasses Christie’s own propensity for societal jabs.  Bordering on parody, Alyssa Cole’s amusing wit places Marple and her family on unfamiliar and clearly less-than-glamorous ground.  Her sense of fun is definitely this collection’s most energetic highlight.
  • “The Unravelling.”  Set within St. Mary Mead, one is led to expect a traditional Christie-style Marple.  However, faulty bio-science and a ludicrous ‘big reveal’ sabotage this tale, making it the book’s weakest inclusion.
  • “Miss Marple’s Christmas.”  Besides its tribute to Dorothy L. Sayers, this likable Marple caper is reminiscent of Christie’s own Poirot novella: The Adventure of the Christmas Pudding (aka Theft of the Royal Ruby).  Hampered by a predictable solution, the more significant hiccup affecting Ruth Ware’s tale is sluggish pacing.
  • “The Open Mind.” Unlike Christie’s social commentaries near the end of her career (i.e., in-story rants re: anti-drugs; anti-promiscuity; anti-hippie, etc.), Naomi Alderman’s tale goes the opposite direction with near-sensationalism of early 1970’s drug use.  Two-thirds of Alderman’s mystery appear solid, but her final third collapses upon divulging the culprit’s absurd, practically eye-rolling motive and tactics.    
  • “The Jade Empress.”  Though the solution isn’t a surprise, the mystique of a Marple whodunnit with an exotic Asian backdrop is intriguing.  Jean Kwok’s somewhat contrived plot isn’t the book’s best, but it’s far from its worst. 
  • * “A Deadly Wedding Day.” The detective tag-team of Miss Marple and her Caribbean-born counterpart, Bella Baptiste, proves an exceptional treat.  One is left to wonder if this tale is a dry run on a possible Bella Baptiste series.  Even it isn’t, Dreda Say Mitchell’s storytelling concocts a high-caliber whodunnit that serves as one of this anthology’s best entries.
  • “Murder at the Villa Rosa.”  One could construe this slightly odd caper as a bait-and-switch reflecting Christie’s notorious disdain for Hercule Poirot’s popularity.  With Miss Marple reduced to a secondary character, Elly Griffiths pitches this book’s second most original offering – that is, after Alyssa Cole’s.  Griffiths’ ‘whodunnit,’ in this sense, is reminiscent of mysteries occasionally found in the Malice Domestic anthology series.
  • * “The Murdering Sort.”  It’s obvious that Jane Marple ought to be long dead by the time her nephew has a 17-year-old granddaughter.  That logic aside, Karen M. McManus still devises an intriguing legacy spin-off where Miss Marple’s great-great-niece, Nicola West, might become a British-American Nancy Drew. The story’s only goof would be a pair of character name typos.  Otherwise, this whodunnit is well-played!     
  • “The Mystery of the Acid Soil.”  Openly referring to Marple’s “A Christmas Mystery,” from The Tuesday Club Murders (aka The Thirteen Problems), the plot hinges too much upon a reader’s knowledge of gardening.  Though Kate Mosse’s storytelling reminds one of classic Marple, the result is something of a bore.
  • “The Disappearance.”  Like Kate Mosse’s tale before it, insights re: amateur gardening are necessary to keep up with Leigh Bardugo’s grim plotting. This book’s final tale, for the most part, seemingly has the makings of a satisfying whodunnit. The resolution, however, is marred by several Marple-isms, which diminishes the out-of-character ‘big reveal’ scene to a poignant yet hardly fair ending.             

No matter how much of a mixed-bag this anthology is, its dozen stories are worth anyone’s armchair sleuthing.  Hopefully, this classy literary experiment will serve as a prelude to a similar Poirot anthology.

*=Recommended!

ADDITIONAL FEATURES:

There’s a single-page introduction.  The book concludes with a section presenting the contributors’ mini-bios.

BRIAN’S ODD MOON RATING:                7½ Stars

Note: For an even more ambitious sleuthing anthology, one might consider “The Improbable Adventures of Sherlock Holmes,” edited by John Joseph Adams.

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HERCULE POIROT: DEAD MAN’S FOLLY (1986 TV Film)

SUMMARY:                     RUNNING TIME: 94:00 Min.

Adapting Agatha Christie’s same-named 1956 Hercule Poirot novel, CBS-TV first broadcast this Warner Bros. Television film on January 8, 1986.  Set in the present-day, acclaimed British mystery novelist Ariadne Oliver (Stapleton) is commissioned to devise a mock ‘Murder Hunt’ for a Devon village’s community fair. 

With the fair set up at the posh Nasse House estate, Oliver invites the esteemed Belgian sleuth, Hercule Poirot (Ustinov), to attend as her guest consultant.  Yet, the event’s macabre fun turns shockingly real when the supposed teenage victim is indeed murdered in the secluded boathouse. 

Further complicating the crime, the estate’s owner (Pigott-Smith) discovers that his reclusive wife (Sheridan) has ominously vanished.  Soon afterward, an inebriated third victim drowns due to the elusive culprit.  It’s up to Poirot, along with Mrs. Oliver and his trusted associate, Hastings (Cecil), to unravel the sordid truth behind the nefarious events plaguing Nasse House.

Hercule Poirot: Peter Ustinov

Ariadne Oliver: Jean Stapleton

Capt. Arthur Hastings: Jonathan Cecil

Sir George Stubbs: Tim Pigott-Smith

Hattie Stubbs: Nicollette Sheridan

Amy Folliat: Constance Cummings

Detective Inspector Bland: Kenneth Cranham

Police Constable: Jack Ellis

Alec Legge & Sally Legge: Christopher Guard & Caroline Langrishe

Michael Weyman: Ralph Arliss

Amanda Brewis: Susan Wooldridge

Marilyn Gale: Sandra Dickinson

Mr. & Mrs. Tucker: Leslie Schofield & Marjorie Yates

Marlene Tucker: Pippa Hinchley

Marilyn Tucker: Vicky Murdock

Eddie South: Jeff Yaegher

Merdell: Jimmy Gardner

Boatman: Alan Parnaby

Hostel Girl: Siv Borg

Unnamed Women: Dorothea Phillips, Joanna Dickens, & Fanny Carnaby

Unnamed Men: James Gaddas & Cyril Conway

Fair Attendees: Uncredited

Note: This film would be Ustinov’s fourth of six Poirot films (three of which were released theatrically).

REVIEW:

Reasonably faithful to Agatha Christie’s source material, this decent adaptation recognizes that its storyline is indeed TV-caliber, as compared to Peter Ustinov’s ultra-scenic Death on the Nile and Evil Under the Sun.  Populated by a good cast, the highlight is Ustinov & Jean Stapleton’s entertaining chemistry, with some third-wheel help from Jonathan Cecil, giving all three of them amusingly comical quirks. 

As to the mystery itself, Christie’s novel isn’t among her best Poirot whodunnits, but the plot still makes for watchable mainstream television.   

BRIAN’S ODD MOON RATING:                                    5½ Stars

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POIROT: THE ADVENTURE OF JOHNNIE WAVERLY (Season 1: Episode 3)

SUMMARY:                  RUNNING TIME: 51:00 Min.

First broadcast on January 22, 1989, Renny Rye directed this early episode that Clive Exton adapted from Agatha Christie’s 1923 short story.  Both Scotland Yard and Poirot are baited ahead of time daring them to prevent the abduction of a country squire’s young son from his own home.  Despite Poirot and the police’s best efforts, young Johnnie Waverly still mysteriously vanishes. 

It’s up to Poirot and Hastings to track down the enigmatic kidnapper (or, quite possibly, kidnappers) to save the young boy. 

Hercule Poirot: David Suchet

Capt. Arthur Hastings: Hugh Fraser

Chief Inspector James Japp: Philip Jackson

Felicity Lemon: Pauline Moran

Ada Waverly: Julia Chambers

Johnnie Waverly: Dominic Rougier

Marcus Waverly: Geoffrey Bateman

Jessie Withers: Carol Frazer

Tredwell: Patrick Jordan

Miss Collins: Sandra Freeman

Police Sergeant: Phillip Manikum

Policemen: Jonathan Magnanti & Jona Jones

Hughes: Patrick Connor

Rogers: Robert Putt

Barmaid: Samantha Beckinsale

REVIEW:

Remaining faithful to Agatha Christie’s weak source material invariably backs this TV adaptation into a corner.  In spite of an initially ominous premise, the plotting then deteriorates into a rather flimsy excuse for a mystery.  Still, Poirot’s production values are stellar, even if this particular storyline is easily forgettable.

BRIAN’S ODD MOON RATING:                   5½ Stars

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POIROT: THE DREAM (Season 1: Episode 10)

SUMMARY:         RUNNING TIME: 50:00 Min.

First broadcast on March 19, 1989, Edward Bennett directed this early episode that Clive Exton adapted from Agatha Christie’s 1937-38 short story.  Poirot is cryptically summoned by reclusive London manufacturing tycoon Benedict Farley as a consultant for a strange recurring dream Farley experiences.  Specifically, this ominous dream compels him to violently commit suicide in his locked office. 

Failing to appease an irritable Farley, Poirot is soon alerted that Farley’s dream was indeed a grim premonition.  Considering others in Farley’s proximity would gladly benefit from his sudden death, Poirot senses that all isn’t what it seems.    

Hercule Poirot: David Suchet

Capt. Arthur Hastings: Hugh Fraser

Chief Inspector James Japp: Philip Jackson

Felicity Lemon: Pauline Moran

Joanna Farley: Joely Richardson

Benedict Farley / Hugo Cornworthy: Alan Howard

Mrs. Farley: Mary Tamm

Dr. Stillingfleet: Paul Lacoux

Herbert Chudley: Martin Wenner

Mr. Tremlett: Christopher Saul

Newsreel Voice: Neville Phillips

Workmen: Fred Bryant & Tommy Wright

Bandmaster: Christopher Gunning

Mayor: Donald Bisset

Fencing Instructor: Arthur Howell

Note: Series composer Christopher Gunning makes a cameo appearance in an appropriate role. 

REVIEW:

Effectively expanding upon Christie’s source material, padding this adaptation of “The Dream” with a youthful romance proves well-played.  Like the original short stories, “The Dream” surpasses “Four and Twenty Blackbirds” (also adapted in this same season), in terms of relying upon the same plot device.  This episode is very watchable!   

BRIAN’S ODD MOON RATING:                7 Stars

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POIROT: PROBLEM AT SEA (Season 1: Episode 7)

SUMMARY:             RUNNING TIME: 51:00 Min.

First broadcast on February 19, 1989, Renny Rye directed this early episode that Clive Exton adapted from Agatha Christie’s 1936 short story.  On a Mediterranean cruise, Belgian sleuth Hercule Poirot and his best friend, Captain Arthur Hastings, are among the passengers uneasily witnessing turbulence in the Clapperton marriage. 

Having gone ashore with two sympathetic female companions, Col. Clapperton later returns to shockingly discover that his wealthy spouse has been murdered inside their locked cabin.  Poirot and Hastings realize that that something beyond a random jewel theft is the true motive precipitating Mrs. Clapperton’s homicide.  

Hercule Poirot: David Suchet

Capt. Arthur Hastings: Hugh Fraser

Col. John Clapperton: John Normington

General Forbes: Roger Hume

Capt. Fowler: Ben Aris

Mrs. Clapperton: Sheila Allen

Ellie Henderson: Ann Firbank

Nelly Morgan: Dorothea Phillips

Emily Morgan: Sheri Shepstone

Kitty Mooney: Melissa Greenwood

Ismene: Louise Jones

Pamela Cregan: Victoria Hasted

Mr. and Mrs. Tolliver: Geoffrey Beevers & Caroline John

Mr. Russell: James Ottaway

Skinner: Colin Higgins

Bates: Jack Chissick

Photographer: Giorgos Kotanidis

Note: For historical purposes, Christie’s plot, intentionally or not, resembles her middling 1933 Parker Pyne short story, “Death on the Nile,” which utilizes a similar premise and locale.  By comparison, Problem at Sea” is a more satisfying mystery.

REVIEW:

High-caliber production values (spot-on acting, terrific location filming, etc.) easily surpass an average mystery that resorts to an eye-rolling gimmick for the ‘big reveal’ sequence.  Still, none of this faithful episode’s storytelling flaws ought to be attributed to this otherwise well-played production.  It simply conveys a decent Poirot tale making the story look better than Christie’s source material actually is.

BRIAN’S ODD MOON RATING:                    6 Stars

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POIROT: TRIANGLE AT RHODES (Season 1: Episode 6)

SUMMARY:                RUNNING TIME: 50:00 Min.

First broadcast on February 19, 1989, Renny Rye directed this early episode that Stephen Wakelam adapted from Agatha Christie’s 1936 short story.  On holiday at the scenic Greek island of Rhodes, Belgian sleuth Hercule Poirot reluctantly observes marital troubles flaring up between two vacationing couples: the Chantrys and the Golds. 

Poirot’s stern effort at intervention to avert imminent tragedy fails once the glamorous Mrs. Chantry is fatally poisoned.  With Mrs. Chantry’s rumored lover, Douglas Gold, arrested for her murder, Poirot senses a more sinister outcome has now been set in motion.  

Hercule Poirot: David Suchet

Pamela Lyall: Frances Low

Douglas Gold: Peter Settelen

Marjorie Gold: Angela Down

Commander Chantry: Jon Cartwright

Valentine Chantry: Annie Lambert

Major Barnes: Timothy Kightley

Police Inspector: Al Fiorentini

Skelton: Anthony Benson

Hotel Manager: Patrick Monckton

Young Greek Girl: Georgia Davis

Older Greek Woman: Sofia Olympiou

Cashier: Dimitri Andreas

Policeman: Stephen Gressieux

Ship Purser: Giannis Hatzgiannis

Customs Officer: Tilemanos Emanuel

Note: For historical purposes, “Triangle at Rhodes” predates Christie’s similar Poirot novel, Evil Under the Sun, by five years.

REVIEW:

The Poirot TV series faithfully adapts “Triangle at Rhodes” with welcome precision (i.e. beautiful scenic locations, superb acting, etc.).  Even better is that the script smartly expands upon Christie’s source material in the right places.  For instance, David Suchet’s on-screen chemistry with Frances Low’s Pamela Lyall and Timothy Kightley’s Barnes as his temporary crime-solving partners is well-played. 

Though “Triangle at Rhodes” is a relatively obscure mystery, its TV adaptation certainly merits re-discovery. 

BRIAN’S ODD MOON RATING:               7½ Stars

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HERCULE POIROT: LORD EDGWARE DIES (1934 Film)

SUMMARY:        RUNNING TIME: 80:00 Min. (Black & White)

Released in 1934, through Radio Studios, this British film (directed by Henry Edwards) is Twickenham Film Studios’ adaptation of Agatha Christie’s same-named suspense novel.  At the behest of a glamorous actress, Belgian private detective Hercule Poirot and his associate, Captain Hastings, attempt to persuade her far-older husband, Lord Edgware, to consent to a divorce in order for her to marry another British aristocrat. 

Shortly thereafter, Edgware’s brazen homicide in his own home leads Poirot and Hastings to suspect that someone is cleverly framing his estranged wife, in spite of her well-established alibi at an opulent dinner party.  The question becomes: who, in fact, murdered the snobbish Edgware?  And why?  Worse yet, an unremorseful culprit is liable to strike more than once.

Hercule Poirot: Austin Trevor

Capt. Hastings: Richard Cooper

Lady Edgware (aka Jane Wilkinson): Jane Carr

Bryan Martin: Leslie Perrins

Inspector Japp: John Turnbull

Geraldine Edgware: Sophie Stewart

Lord Edgware: C.V. France

Duke of Merten: P. Kynaston Reeves

Alice: Phyllis Morris

Other Credited Cast Members: Brenda Harvey; S. Victor Stanley; Hargrave Pawson; Conway Dixon; &

Quenton McPherson

Notes: This movie would be Trevor’s third and final cinematic appearance as Poirot.  The novel’s alternate American title is Thirteen at Dinner (which was utilized for Peter Ustinov’s 1985 TV movie adaptation co-starring Faye Dunaway).

REVIEW:

Admirably, the film’s script adheres close to Christie’s source material.  This same observation extends to a decent supporting cast inhabiting the plot’s various suspects and witnesses.  The actors chosen to convey Poirot’s most well-known associates: Captain Hastings and Scotland Yard’s Inspector Japp are bland, but they hardly impact this film’s quality.    

The insurmountable liability, however, is Austin Trevor’s miscasting as the impeccable Belgian sleuth.  Glaringly missing Poirot’s trademark moustache, the tall and dapper Trevor far closer resembles a generic Sherlock Holmes.   Ironically, the actor portraying Hastings is nearly a visual match (aside from being slimmer) to the literary Poirot. 

Effectively ruining this movie, the most tone-deaf aspect of Trevor’s performance is his phony and virtually non-intelligible accent (something haplessly trying to convey French/Belgian/German).  Suffice to say, his squeaky-sounding effort will quickly grate any viewer’s nerves. 

By comparison, in the Pink Panther film series, Peter Sellers deliberately played up Inspector Clouseau’s garbled French accent for laughs.  Trevor’s snooze-fest as Poirot, unfortunately, does not, which makes for a long seventy-five plus minutes.  One is left wishing Lord Edgware Dies had been a silent movie where dialogue cards would substitute for Trevor’s voice, so this film would be at least watchable.    

It’s a shame, too.  This rudimentary adaptation had potential to be an early pinnacle in Poirot storytelling on film, at least prior to 1974’s Murder on the Orient Express starring Albert Finney.

BRIAN’S ODD MOON RATING:                  3 Stars

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AND THEN THERE WERE NONE {aka AGATHA CHRISTIE’S TEN LITTLE INDIANS} (1974)

SUMMARY:                     RUNNING TIME: 1 Hour, 38 Min.

Directed by Peter Collinson, producer Harry Alan Towers’ second remake of the same-named 1945 film now shifts Agatha Christie’s legendary whodunnit to an empty luxury hotel deep in the Iranian desert. 

Like the two cinematic adaptations before it (1945 and 1965), the movie is set in the present day, with various character names, nationalities, and/or their crimes loosely altered from Christie’s novel (as well as her own stage play adaptation) to better accommodate the cast.  Still, there’s no mistaking that Towers relies heavily upon the 1965 film’s script.

For instance, secretary ‘Vera Claythorne’ (the novel & the 1945 film) becomes 1965’s ‘Ann Clyde’ and now ‘Vera Clyde.’ Condescending British spinster Emily Brent (the novel & the 1945 film) is replaced by a conceited German film actress (1965) and then an equally conceited French actress (1974). The novel’s obnoxiously stupid British playboy Anthony Marston becomes a boozy, free-loading Russian expatriate for the 1945 film before transforming into Fabian’s obnoxious 1965 pop-rock star. For 1974, Fabian’s ‘Michael Raven’ is re-imagined as Charles Aznavour’s smarmy French pianist, ‘Michel Raven.’  Similar revamps further apply to the general, the ex-police detective, and the married servants. 

Transported by helicopter to an abandoned Iranian resort hotel two hundred miles from civilization, eight European strangers ostensibly attend a private house party.  Left to entertain themselves, the guests and a married servant couple are mortified by accusations of ghastly crimes from the ominously recorded voice of their absent host, ‘U.N. Owen.’ 

Loosely adhering to the “Ten Little Indians” nursery rhyme (a copy of which appears in each guest room), the ten captives are then targeted for death, one by one.  Alliances are inevitably made, but can anyone evade a predator’s vengeful wrath?   

Hugh Lombard: Oliver Reed                                                               

Vera Clyde: Elke Sommer  

Judge Arthur Cannon: Richard Attenborough                                     

Dr. Edward Armstrong: Herbert Lom

Ilona Morgan: Stéphane Audran

Wilhelm Blore: Gert Fröbe

General André Salvé: Adolfo Celi

Otto Martino: Alberto De Mendoza                         

Elsa Martino: Maria Rohm

Michel Raven: Charles Aznavour (Note: the character’s name is a slight tweaking of the same role Fabian played in the 1965 film.)

U.N. Owen’s Voice: Orson Welles

Notes: Serial shlock film producer Harry Alan Towers bizarrely filmed And Then There Were None (aka Ten Little Indians) three times in a quarter-century: the other instances being 1965 and 1989.  Set in a wintry chalet in the Alps, the headliners for his 1965 black-and-white potboiler are Hugh O’Brian, Goldfinger’s Shirley Eaton, & Fabian (suffice to say, the pop star’s death scene is laughably amateurish). 

Towers’ low-rent 1989 rehash shifts Christie’s plot to a 1930’s South African safari camp, with Lom now playing the General and Sylvester Stallone’s kid brother, Frank, cast as the macho Lombard. Though it is Towers’ worst-produced rendition, ironically, the 1989 film sports two advantages over his two previous efforts: 1. Christie’s original character names, crimes, etc. are mostly kept intact; and 2. In spite of eye-rolling ineptitude, this South African caper tries to invoke the gore and the captives’ growing sense of terror, as described in the novel. 

Yet, of Towers’ increasingly muddled remakes, none of them bothers imitating the 1945 film’s classy, almost spoofy sense of humor.

REVIEW:

Impressing no one, producer/co-writer Harry Alan Towers lazily resorts to a script mash-up plundering the original 1945 film and, even more so, his own 1965 remake (entitled Ten Little Indians”).  Beyond an authentic Iranian locale, this 1974 version’s other distinction is a diverse, heavily-accented European cast – many of them possessing famous credits.  The bleak reality, however, is that the hotel’s musty furniture is more compelling to stare at for ninety minutes than witnessing this half-hearted ensemble bore viewers to death. 

Aside from zero romantic chemistry percolating between Reed’s creepy Lombard and Sommer’s Vera, only Aznavour briefly manages to affect a welcome ounce of charisma.  Like two iconic Bond villains (Fröbe & Celi) in this same cast, even the reliable Lom merely winces his way through the motions, so to speak. 

Worse yet, it’s unsurprising that the ominous psychology permeating Christie’s novel is again disregarded in this retelling.  Tiresomely lacking necessary depth and even basic logic (i.e. an explanation for the culprit’s international scheme), this would-be whodunnit translates as cinematic cardboard. 

Let’s rate the four film adaptations this way: directed by René Clair, 1945’s black-and-white And Then There Were None merits 8 or 9 stars as a clever black comedy with a game cast of character actors – even in its worst moments, the original movie falls to maybe a 7.  1965’s black-and-white Ten Little Indians (Towers’ first remake) hovers between 5 and 7 stars, as crass violence and dull performances replace the original movie’s viewer-friendly charm.

No matter how dubiously, this ultra-bland 1974 adaptation only surpasses Towers’ rock-bottom 1989 cheapo due to its better production values. It’s an instance of Hollywood’s slippery slope to mediocrity; by spawning far too many remakes, Christie’s surefire source material for a big-screen suspense thriller is gradually reduced to unwatchable dreck.

Ultimately, 1974’s And Then There Were None should be viewed at one’s own peril.  This unrepentant snooze-fest ensures that viewers won’t be getting back the 98 minutes (or any other price of admission) spent on it.

BRIAN’S ODD MOON RATING:                  3½ Stars

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Categories
Agatha Christie-Related Anthologies Books & Novels Mystery & Suspense

A DEADLY AFFAIR: UNEXPECTED LOVE STORIES FROM THE QUEEN OF MYSTERY

Written by Agatha Christie

Cover Art by Matt Griffin

SUMMARY:

In 2022, William Morrow (HarperCollinsPublishers) issued this 263-page paperback reprinting thirteen short mysteries.  In addition to two of her miscellaneous romantic tales, A Deadly Affair’s round-robin style rotates between Agatha Christie’s array of famous sleuths.  Specifically, the stories are:

1923 – The King of Clubs (Hercule Poirot):  Poirot & Captain Arthur Hastings probe a sensationalized English countryside murder where a famous dancer is either the prime suspect or its most pivotal witness. 

U.S. anthology: The Under Dog and Other Stories (1951)  / U.K. anthology: Poirot’s Early Cases (1974).

1927 – The Face of Helen (Harley Quin): Mr. Satterthwaite becomes caught up in an aspiring opera singer’s tragic love triangle with two young men.

U.S. & UK. anthology: The Mysterious Mr. Quin (1930).

1933 – Death on the Nile (Parker Pyne): A vacationing Pyne’s Nile cruise is interrupted by a wealthy couple’s quarrel, as the wife believes she is being slowly poisoned.   

U.S. anthology: Mr. Parker Pyne, Detective (1934) / U.K. anthology: Parker Pyne Investigates (1934).

1931 – Death by Drowning (Jane Marple): At Jane Marple’s behest, retired Scotland Yard Commissioner Sir Henry Clithering joins the police investigation of a local girl’s tragic drowning in St. Mary Mead.

U.S. anthology: The Tuesday Club Murders (1933) / U.K. anthology: The Thirteen Problems (1932).

1923 – The Double Clue (Hercule Poirot): A scandalous jewel heist brings Poirot into contact with the enigmatic Countess Vera Rossakoff for the first time.

U.S. anthology: Double Sin and Other Stories (1961) / U.K. anthology: Poirot’s Early Cases (1974).    

1924 – Finessing the King / The Gentleman Dressed in Newspaper (Tommy & Tuppence Beresford): At a London nightclub’s masquerade party, the Beresfords stumble upon a woman’s homicide.

U.S. & U.K. anthology: Partners in Crime (1929).

1928 – Fruitful Sunday: During their afternoon date, a young couple make an unexpected discovery at the bottom of their fruit basket.

U.S. anthology: The Golden Ball and Other Stories (1974) / U.K. anthology: The Listerdale Mystery (1934).

1928 – Wasps’ Nest (Hercule Poirot): Poirot senses a friend’s love triangle may end in homicide.

U.S. anthology: Double Sin and Other Stories (1961) / U.K. anthology: Poirot’s Early Cases (1974).

1942 – The Case of the Caretaker (Jane Marple): Dr. Haydock offers Miss Marple a chance to solve a bizarre true-crime murder that he is thinking of adapting into a novel.

U.S. anthology: Three Blind Mice and Other Stories (1950) / Miss Marple’s Final Cases and Two Other Stories (1978).

1924 – The Man in the Mist (Tommy & Tuppence Beresford): Impeded by a creepy fog, the Beresfords probe a homicide case involving a high-profile actress.

U.S. / U.K. anthology: Partners in Crime (1929).

1932 – The Case of the Rich Woman (Parker Pyne): Parker Pyne digs into his bag of unorthodox tactics to resolve a bored widow’s desire to dispose of her immense wealth.

U.S. anthology: Mr. Parker Pyne, Detective (1934) / U.K. anthology: Parker Pyne Investigates (1934).

1926 – Magnolia Blossom: A married woman must decide whether her future bliss belongs with her husband or with a discreet love affair.

U.S. anthology: The Golden Ball and Other Stories (1971) / U.K. anthology: The Agatha Christie Hour (1982).

1926 – The Love Detectives (Harley Quin): Mr. Satterthwaite and Harley Quin observe a homicide investigation where dramatic confessions by the victim’s wife and her lover contradict the evidence.

U.S. anthology: Three Blind Mice and Other Stories (1950) / U.K. anthology: Problem at Pollensa Bay (1991).

Note: The novel’s legalese indicates that the book’s text was “previously published in a different format” – presumably in the United Kingdom.

REVIEW:

Despite spreading the wealth amongst Christie’s detectives, the publisher’s inexplicable choice of material leaves far better stories off the table.  Before proceeding further, the worthy inclusion of “Wasps’ Nest,” let alone the chilling “Case of the Caretaker,” absolutely fit this anthology’s theme.  It’s the other eleven entries that range from good to middling to utterly blah, no matter how well-packaged the publisher makes them look. 

For instance, “Fruitful Sunday” is a forgettable doodle while “Magnolia Blossom” is straight-up soap opera dreck.  One should then be relieved that “While the Light Lasts” wasn’t included, as it presents another of Christie’s horrid post-war soap operas. 

Regarding the included detective stories, at most, they offer some decent reading.  Still, Parker Pyne’s “Death on the Nile” is this assortment’s worst choice.  Beyond predating one of Poirot’s most famous novel titles, the story is really an ultra-bland amalgam of Poirot’s “Problem at Sea” and “The Cornish Mystery.” Suffice to say, Pyne’s intuitive reasoning is sorely implausible, as compared to Poirot’s own later voyage down The Nile.       

Giving the matter due thought, here’s a partial list of classic Christie mysteries unfairly excluded from this anthology (including a few capers for some humorous relief):

  1. Hercule Poirot: either Mystery of the Spanish Chest, or its alternate version, Mystery of the Baghdad Chest;
  2. Hercule Poirot: The Affair at the Victory Ball;
  3. Hercule Poirot: Murder in the Mews;
  4. Hercule Poirot: Plymouth Express;  
  5. Hercule Poirot: The Cornish Mystery;
  6. Hercule Poirot: Problem at Sea;
  7. Hercule Poirot: Triangle at Rhodes;
  8. Hercule Poirot: The Stymphalean Birds;
  9. Colonel Race: Yellow Iris;
  10. Parker Pyne: The Case of the Discontented Soldier;
  11. Tommy & Tuppence Beresford: The Sunningdale Mystery;
  12. Harley Quin: Harlequin’s Lane;
  13. Harley Quin: The Man from the Sea;
  14. Harley Quin: The Harlequin’s Tea Set;
  15. Jane Marple: The Thumb Mark of Peter;
  16. Jane Marple: The Companion;
  17. Jane Marple: The Blood-Stained Pavement;
  18. Jane Marple: The Herb of Death;
  19. Jane in Search of a Job;
  20. The Girl in the Train;
  21. The Edge; and
  22. Witness for the Prosecution

As evidenced above by what isn’t included in A Deadly Affair, this anthology is at most a mediocre sampling of Christie’s love-themed mysteries.

ADDITIONAL FEATURES:

Entitled “Affairs of the Heart: Agatha’s Early Courtships,” a seven-page excerpt from Christie’s 1975 An Autobiography reveals two love affairs from her own youth.  A helpful bibliography specifies the original publication history of these stories.  Lastly, there’s a paragraph-length bio on Christie.  

BRIAN’S ODD MOON RATING:                    4½ Stars

Note:  Two other recent Christie themed-anthology titles are Midwinter Murder: Fireside Tales from the Queen of Mystery and The Last Séance: Tales of the Supernatural.