Agatha Christie's Poirot - Dead Man's Folly - ITV review

Dead Man's Folly, the second in the current series of Agatha Christie's Poirot, was based on a novel from the 50s, when the Queen of Crime's work was rather more variable than it had been a few years earlier. The book has some delicious elements, although the solution has always struck me as rather contrived. The ITV version with David Suchet made the most of the story's merits, notably the marvellous country house and village fete settng.

And to make things even better, a very good decision was taken to film the story at Greenway. Christie used her own home in Devon, and its marvellous grounds, in fictional form for the book, so this was a very appropriate homage. I was also reminded strongly of a marvellously sunny day last year, when I had the memorable experience of revisiting Greenway in the company of that great Christie expert John Curran.

Zoe Wanamaker was an effervescent Mrs Oliver as usual, with Sinead Cusack very good in the important part of Mrs Folliat. The early scenes, when Poirot arrives at Nasse House and meets the house guests, and when the fete takes place, were very well done. As in the book, things faltered slightly after the discovery that a teenage girl has been murdered, and the suspects were not perhaps as strongly developed as they might have been. Overall, the screenplay was faithful to the original both in its strengths and its shortcomings, with a slight change to the ending. Verdict - not a classic,but good light entertainment.

Agatha Christie's Poirot: Elephants Can Remember - ITV review

Agatha Christie's Poirot began its final series tonight with Elephants Can Remember, featuring David Suchet as Poirot and Zoe Wanamaker as Mrs Ariadne Oliver. The book, it has to be said, is one of Christie's worst, a rambling effort written at the end of her career when her powers were failing and her publishers were too much in awe of her to edit what she wrote with the necessary ruthlessness. I read it not long after its first publication in the early 70s, and was so disappointed that it's one of the few Christies I've never bothered to reread..

Oddly enough, the flaws of the original presented more of an opportunity than a grim challenge for the screenplay writer, Nick Dear, a BAFTA winner whose CV includes a version of Jane Austen's Persuasion. I can think of a number of Christie books that have been ruined by over-the-top adaptatons in the past few years, but Dear did a good job with this "cold case" mystery, inventing liberally to compensate for a lack of dramatic material in the book.

As with a number of other televised Christies, the action was shifted to the between the wars period that seems well suited to puzzle stories of this kind, even when they were written much later. Wanamaker was, as usual, great fun in her zestful efforts to establish the truth about the apparent murder and suicide of the parents of Celia Ravenscroft (well played by Vanessa Kirby, who was equally good in Kate Mosse's Labyrinth). It was a shock to see the super-glamorous Greta Scacchi playing the part of an ageing battleaxe, but like the rest of the cast, she was excellent.

People who don't like Agatha Christie point to flaws in characterisation and wildly unlikely plot devices, and Elephants Can Remember is a book which suffers from these weaknesses. But this lavishly produced TV version showed that sympathetic adaptation can work wonders with unsatisfactory source material. The result was decent Sunday evening entertainment, and certainly the screenplay is better than the book. But it's only fair to add that Christie cannot sensibly be judged by her last few novels. Her reputation is built on those ingenious classic mysteries she wrote long before her powers declined, and could hardly be more secure.   

Forgotten Book - The Blackheath Poisonings

Once again, my pick for Patti Abbott’s series of Forgotten Books is a title by the late, great Julian Symons. The Blackheath Poisonings is one of his ventures into Victorian crime – Sweet Adelaide, based on the real-life Adelaide Bartlett case, is another – and it carries a particular memory for me.

During the 1990s, Nottingham was the place for crime fans to visit, during the annual Shots on the Page convention. The convention was, so far as I know, the brainchild of Maxim Jakubowski, who worked closely with film specialist Adrian Wootton. I missed the first of the conventions, but attended all the others and found them most enjoyable. They paved the way for Nottingham to host Bouchercon itself – quite a coup for Maxim and his colleagues, and the last time that Bouchercon crossed the Atlantic.

One year, the convention hosted an advance screening of an adaptation for TV of The Blackheath Poisoinings. The small screen version was excellent, benefiting from a first rate cast that included Zoe Wanamaker, Judy Parfitt and Ronald Fraser, as well as a screenplay that was sympathetic to Symons’ original story.

And a very good story it is, with a sharp eye on the sexual complexities lying just beneath the surface of late Victorian society. A respectable family is torn apart by poison, and poisonous suspicion. One of the characters is tried for murder, but before the story is concluded, there will be another death, and the revelation of an unsuspected criminal.

Julian Symons inscribed my copy of this novel (which is a hardback reprint, published not long before his death from cancer)when we were together at a CWA conference in Brighton. Characteristically, he added a question: ‘A good Victorian crime story?’ The answer is an unequivocal yes.

(P.S. - For unfathomable reasons, at present, I am able to send but not receive emails, so if you've emailed me in the past three days, please don't think the absence of a reply means I'm ignoring you....)