Early in 2018 I bought a complete
DVD boxset of Agatha Christie’s Poirot with David Suchet.
It’s a beast. There are multiple
disks on each spike.
See that? 5050 minutes… almost 85
hours.
And it has taken me a little while
to watch them all. It revelatory to see how the production values changed over
the series; and as always it’s a game of ‘spot the awesome English actor’.
It is singularly amazing that all
the main character actors stuck it out for the entire series. It would not be
the same if it wasn’t the right Hastings or Chief Inspector Japp or Miss Lemon in
the last episodes. Expertly played by Hugh Fraser, Philip Jackson and Pauline
Moran respectively.
But more and more I see just how
clever Christie was. They are amazing stories. An absolute master class in
mystery writing.
It’s as if she challenged herself.
I’ll make the murderer the narrator. I’ll make the murderer one of the victims.
I’ll make the murderer the doctor. I’ll make the murderer all the suspects. I’ll make the murderer the investigating police
officer. And so on. I’m reading ‘Talking About Detective Fiction’ by P.D. James
and she laughed that all you had to do with a Christie story was pick the
person most unlikely to be the murderer and you had a good chance to get it
right.
Some Christie expert will no doubt
swear she repeated herself, but I’m struggling to think of an example.
They focus more on the story than
the method. And the thing Christie was so good at was writing these utterly appalling
but somehow so English families. Decades of building anger, resentment and
guilt. Adult married children still living with their parents or step-parents
and waiting patiently (or not) for the old tyrant to die and leave them the
estate.
Personally, I want to be Ariadne
Oliver, the self insert Christie character who hates her own fictional
detective. ‘Why did I make him Norwegian?’ she moans in the same way I expect
Christie did about making Poirot from Belgium.