Written by Agatha Christie
SUMMARY:
First published in 1924, periodic re-releases include this 300-page William Morrow paperback in 2020. In the prologue, enigmatic spy, Nadina, posing as an expatriate Russian ballet dancer in Paris, confides in a fellow confederate that she intends to defy their boss, the unidentified ‘Colonel.’
Days (or possibly weeks) later, in London, after the death of her archaeologist father, dark-haired, twenty-something Anne Beddingfeld narrates how she stumbles into an apparent double-homicide linked to Mill House — a posh home belonging to international business tycoon Sir Eustace Pedler. Her prime suspect is a shadowy character publicly dubbed as ‘the man in the brown suit.’
Pursuing a potential lead, aspiring journalist/adventuress Anne boards a cruise ship, the Kilmorden Castle, for a journey to South Africa. Among her fellow passengers, she encounters charming socialite Mrs. Suzanne Blair; the unpleasant Reverend Chichester; and a ruggedly Sean Connery-like Colonel Race (who may or may not belong to the British Secret Service). Also, on this voyage, are Mill House’s befuddled Eustace Pedler, and his two odd secretaries: Guy Pagett and Harry Rayburn. Deemed a gypsy-like spirit, Anne charms her way through a growing list of viable suspects.
Aboard ship and, later in several South African locales, Anne realizes there’s few rules to the dangerous cat-and-mouse game she’s playing, as no one may be who he/she seems. Against her enigmatic adversaries, Anne’s sleuthing links a diamond heist to a secret personal vendetta dating to World War I. Most of all, she intends to finally unmask the ‘Man in the Brown Suit.’
REVIEW:
Aside from its bland title, this underrated Christie romantic mystery is close to a gem. Anne Beddingfeld (perhaps reminiscent of Hayley Atwell, Daisy Ridley, or a mid-90’s Minnie Driver) is possibly Agatha Christie’s best heroine, as far as her contemporary sense of adventure, resourcefulness, and playful humor. Her chemistry with the supporting cast is consistently well-played, without macabre or racist undertones that permeate many of the author’s other works. Though some aspects of Anne’s philosophy towards marriage are clearly antiquated, her character’s breezy, somewhat sarcastic personality remains a treat for readers to accompany a century later.
In that sense, Brown Suit’s only detriment is the author’s propensity for some occasionally eye-rolling romantic dialogue. Yet, the love triangle smoldering between Anne, Race, and another mysterious tall, dark, and handsome stranger delivers the satisfying literary equivalent of old-school Hollywood adventure films.
Case in point: Brown Suit presents its own take on 1914’s “The Perils of Pauline” adventure/melodrama cliffhanger serial, which Anne occasionally references (only Christie inserts ‘Pamela’ for Pauline). Sometimes ruefully comparing herself to this imperiled film heroine, Anne herself has no intention of being a damsel-in-distress. Guided by Christie, Anne consistently proves a high-caliber protagonist.
Adding to the plot as an effective counter-point is Pedler’s self-absorbed (and tongue-in-cheek), running commentary. In particular, his vaudeville-style comedic chemistry with Pagett is a hoot to read. What’s intriguing about this duo is their basis in reality – Christie’s Pedler & Pagett were inspired by a family acquaintance: Major E.A. Belcher and his real-life secretary. Note: Having once seen a photo of Belcher and his secretary together (quite likely, it is in Christie’s memoir), as far as resemblance, it’s easy to visualize actors Stephen Root as Pedler and either John Turturro or Sacha Baron Cohen portraying Pagett. They would be Christie’s answer to Laurel & Hardy.
According to Christie’s autobiography, Belcher cajoled her into using Mill House (his real-life home) as a fictional crime scene, plus inserting a fictionalized version of him into the storyline. In delightful fashion, Christie doesn’t disappoint, considering she and her then-husband, Archie, joined a year-long, round-the-world exhibition tour with Belcher in 1922.
Perhaps that’s why the fresh South African locales, as well as the weeks-long cruise sequences, feel genuine – Christie’s descriptive talents extend far past a mere travelogue. Even if this book isn’t among Christie’s best-ever works, she and Anne Beddingfeld (not to mention, Sir Eustace) strive to keep readers entertained at all times. Their shared concoction of suspense, romantic adventure, and wry humor delivers first-class entertainment.
Presently, only an obscure, loosely-adapted 1989 TV movie starring Stephanie Zimbalist has tackled Brown Suit. Considering its likely wide-audience appeal in the right creative hands, The Man in the Brown Suit definitely merits a faithful BBC production or a big-screen film. Frankly, pitching someone like Tom Hardy as Harry Rayburn, for instance, would be a good start.
ADDITIONAL FEATURES:
Entitled ‘Agatha Christie on Her Journey to Becoming a Writer,’ there’s a ten-page except from Christie’s autobiography. It details how and why Christie concocted her first published story: Hercule Poirot’s The Mysterious Affair at Styles. Complete lists (and recommended order of reading) of Christie’s Poirot and Miss Marple titles are included. Eight pages of Christie-related ads further pad the book.
BRIAN’S ODD MOON RATING: 8 Stars
