Yes, this is the name of one of the kids’ teachers this fall. Ha!!
I haven’t done an episode review for awhile now, so here’s one I’ve been mulling over in the last few days. 🙂
Things I Loved:
–Making Poirot’s friend Bonnington his dentist also. Doing this scores a couple of script writing points. First, it provides some insight to Poirot’s character which is reiterated elsewhere in the series (he hates going to the dentist). Second, Poirot’s aching bicuspid makes a convenient excuse for him to meet with Bonnington a second time, so he can hear the news of Henry Gascoigne’s death; in Christie’s original, they meet again randomly on the Tube. Finally and most importantly, it makes the references to the dead man’s teeth seem natural and consistent with the rest of the story, and serves to slightly conceal the vital clue.
–The contrast of the opening scene. Brighton’s frivolous outdoor revelry is sharply contrasted by the interior shot of the dying Anthony Gascoigne.
–A tiny detail in the closing scene, but I thought it was great anyway– when the lads are gathered again at the restaurant at the end, you see Molly come through the shot from the back left, bearing two plates of a dessert that might conceivably be the blackberry crumble and depositing them before customers. This is an exact parallel of one of the last lines of Christie’s story, and I appreciated the touch.
–Mrs Mullen, the neighbor of Henry Gascoigne, treating Poirot like he’s deaf or unable to speak English– SO funny.
-Bringing food into the rest of the story. Many of the early scripts, especially those based on the “slighter” short stories, take elements from Christie’s original and incorporate the themes into the other characters’ storylines. (For example, in The Cornish Mystery, Mrs Pengelley’s digestive troubles and diagnosed “gastritis” parallel Hastings’ stomach issues and diet.) The crux of Four and Twenty Blackbirds is one man’s eating habits which give away a crime. The script writer for this episode adds the delightful scene of Poirot cooking for Hastings, which is also a good excuse to throw in some Belgian references. The line, “Please– do not be stinting with your praise” is one of my all-time favorite moments of Poirot vanity. 🙂
–Miss Lemon’s wireless program. She is listening to a radio drama featuring A.J. Raffles, “London’s Man of Mystery.” He and his sidekick Bunny were modeled from Holmes and Watson; she describes Raffles as “such a dashing figure.” You could read this as an early indication that Miss Lemon finds the whole renowned-London-detective-character attractive, and it elicits a very interesting look on Poirot’s face when he hears it. Of course, in the books, Miss Lemon wouldn’t touch detective fiction with a ten-foot pole (see: Dead Man’s Folly), but the discrepancy doesn’t trouble me. Oh, and the fictional Raffles is also a CRICKETER! Considering Hastings’ cricket mania in this episode, is this a coincidence?
-The forensics team at Scotland Yard, which would go on to send Poirot a get-well message after his bout of food poisoning in Evil Under the Sun. 😀 And Japp absolutely cracks me up in the scene at the Yard in which Poirot is trying to wheedle some information out of him. His “scrap heap of scrap” and his “I didn’t”… ha! And in the midst of the humor, and despite his skepticism of Poirot’s interest, you nonetheless get a good sense of Japp’s own intelligence here.
-Speaking of which, I need to hold forth about the denouement of this episode. This is the very first of Poirot’s many dramatic, public reveals. He (rather outrageously) brings the whole Scotland Yard forensic department onto Lorrimer’s stage. When Lorrimer tries to make a dash for it, he is blinded by stage lighting and cops appear to cover all exits. It is done in truly over-the-top theatrical style– practically music-hall, indeed– and foreshadows future denouements with a calculated theatrical setting (Problem at Sea, Jewel Robbery at the Grand Metropolitan, Lord Edgware Dies, Three Act Tragedy, The Big Four). But what stood out to me in this early “big reveal” was a reminder of one of the reasons that David Suchet manages the character of Hercule Poirot so well. It’s one thing to say that he’s a great actor and does his homework and all that– true, but the same can be said for Ustinov and Branagh, and I don’t really want their Poirots. There is a combination of characteristics that Suchet seems to have a natural facility for playing really, really well. The “foreigner” is an obvious one. But in dramatic reveals like this one, a duality in Poirot’s personality is displayed in striking fashion: on the one hand, an extremely charming and/or charismatic gentleman; on the other, a figure who is ruthless to the point of death, and deadly terrifying as a result. Several of Suchet’s very best roles of screen and stage have featured this duality of character, including Robert Maxwell, Rudi Waltz, Melmotte, and Iago. Christie wrote this contrast into her own character, and to see someone of Suchet’s experience and skill have at it is absolutely inspirational.
Things I Didn’t Love:
-Hastings himself was a bit weirded out by the vaguely voyeuristic overtones of the awkward moment in the gallery when Dulcie Lang is posing for a life class. I mean, points for character representation of Hastings, I guess. Not devastating or anything as a moment, but awkward.
-For all the fun of the denouement, there were some curious choices in the general unraveling of the crime. The biggest clue in the story were the “blackbirds”– or blackberries– that the dead man with the unstained teeth was supposed to have eaten. This discovery of Poirot’s was revealed not at the climax of the story, but in the middle. Likewise, the supposition that the last meal that Gascoigne had eaten was not dinner, but lunch, became a deduction made along the way. The dramatic denouement was really more about informing Lorrimer how much tangible evidence they had against him. Part of me wanted a bit more recap at the very end as to just why Lorrimer’s performance was “fatally flawed” (mainly, because he forgot to eat like his uncle).
Things That Confused Me:
-If you were already familiar with the story, the dynamic shifts in the TV plot may cause a little confusion generally. In the book, Anthony Gascoigne had married a rich wife and was consequently well off, while brother Henry was an “extremely bad” artist who was poor. Lorrimer had to wait until Anthony died, because the money would come to his brother, who he had to kill shortly afterward, hence the careful timing of the murder. In the episode, Anthony may or may not have been well off, but Henry was, including assets that could only be sold after his death. If Henry Gascoigne is the rich one, why does Lorrimer have to wait until after Anthony dies to kill Henry? Instead of the chain of inheritance, the focus is shifted so that the very existence of Anthony serves to provide other plot elements: another suspect for the impersonator, some background as to the brothers’ quarrel and the influence of an artist’s model, and just general red herring-ness. It seems the story almost could have been told without Anthony.
-It was something that puzzled me in the book as well– how does George Lorrimer know that Anthony Gascoigne had made no will (or in the book, no recent will at least)? Since the twin brothers had a very long-standing quarrel, it makes sense that they’d consider cutting each other out of their wills if they’d had any.
-Why does Mrs Mullen, the observant neighbor, unlock the door of Gascoigne’s house and let Poirot and Hastings in, since she’s so suspicious of them? And if she knew that Dulcie Lang was upstairs, why “break in” at all– why not just ring?
-In Poirot’s first meeting with Dulcie Lang, he surreptitiously cuts a small piece of blotting paper from the blotter on Henry Gascoigne’s desk. We don’t discover what this is all about until the stage scene, where he reveals how the deception with the smudged postmark was done. But surely there is no way Poirot could have guessed at that point that the tiny blotter smudges he first saw on Gascoigne’s desk were of any relevance to his death.
-Are we supposed to believe that Dulcie Lang’s passionate retort that she would never part with Gascoigne’s paintings at any price indicates some romantic interest? It kind of comes across that way– and the deceased was not young, just saying.
-The restaurant in the book was called the Gallant Endeavor. This was changed to the Bishop’s Chophouse in the episode, and was accordingly filmed at the oldest chophouse in England, Simpson’s Tavern. This is all well and good, since the Gallant Endeavor is supposed to be extremely British in its cuisine, shunning all things hinting of the continental, and has all the marks of a chophouse. However, I don’t really understand why the sign “Simpson’s” is clearly visible on the outside of the restaurant as it was filmed, as characters in the episode clearly refer to it as the Bishop’s Chophouse.
Conclusion: What can I say? I do love it! In all of its inimitable, sweater-vested glory! 🙂
I’m very excited about this newest 1:12-scale miniature room. It’s the first one I’ve made that is “two rooms in one,” with a partition and an adjoining door. Actually, it’s the first with any doors at all.
I decided to go for a “white-and-chrome” look in the foyer, which is more in keeping with Poirot’s flat than brass accents. However, brass is much more common in the world of dollhouse minis. Those wall sconces and the little table lamp weren’t cheap! The picture frame (featuring a nicely-symmetrical ship prow), the hat rack, and one of the canes were originally brass-colored; I went over them with Art Alchemy’s Metallique Wax in Old Silver. I also added silver sticker strips to the mirror and silver beads to the hall table legs. There is a little set of brass keys on a tray on the hall table, and I did decide to keep the door accents in the brass color.
I love niches! When I realized the foyer was going to be white-heavy, I couldn’t resist adding this smooth, chic plaster element. The statue is a miniature plastic St. Joseph, which I also covered in the Metallique Wax to change it from gold to silver. I loved the little table underneath; Poirot would have liked all those right angles, I think. 🙂 The little silver vases have tufts of mini landscaping grass and a couple of plastic eggcups– there may be a couple of decorative and identically-sized eggs to be added in the future. 🙂
A closer view of the wall, including the little dish of Belgian chocolates. Wonder how I got that shot behind the lamp, with the partition in the way? Easy– the partition isn’t fixed in. I removed it to get a better shot. You can see my hand in the mirror and a view of the office beyond!
Here are a few views of the office. I hunted down all the filing pieces I could find for this room! The black-framed “pictures” on the wall are actually intarsia pendants. They are inlaid stone– onyx and picture jasper. There was nowhere to put any plants, so I settled for placing some “wax flowers” under a display dome on top of the dark brown filing cabinet. Also, I have not managed to procure her a typewriter yet!
I haven’t put the curtain up yet, either. You can see acrylic craft paint bottles peeking through the window. 🙂 That brass clock really works, if I get a battery into it. It reminded me of the clock Miss Lemon gets in the episode The Dream.
In the desk organizer are a pair of black-rimmed spectacles, an adding machine, a pen, paper pad, and another little clock (non-working). The framed pictures are actually of a typist. The tiny one shows her hands typing away at her machine.
This is fun– a view through the window, into the office, and beyond the open door into the foyer!! 😀
Room box #4 is in the planning stages. This one is a little different, as it’s two “rooms” in one and will feature a partition. Here’s the setup I’m playing with, starting with the foyer on the left…
The foyer is meant to be in white and silver, generally, except for the brass of the door fixtures. I’m thinking of going over the brass coat rack with silver to match the lamps.
The hall table with mirror, wall sconces, and spots for depositing hats and canes. On the table is a bowl of Belgian chocolates, a white “leaf” plate with a ring of keys on it, and a vase of roses. I wanted the hall table to be rectangular, but oh well… 🙂 I’m going to add “frosted” white glass globes to the candle wall sconces to make them look more modern. I will probably also trim the brown hat on the rack, which is Miss Lemon’s.
I wanted a dish of Belgian chocolates on the foyer table– in part, because a dish of chocolates features in Chapter 6 of my original Poirot novel, The London Syndicate. 😀 But unlike that story, these chocolates are meant to be good ones! I took some super-tiny seashells and used silicone putty to make a mold of them. I then combined white and brown Premo Sculpey clay to create that marbled chocolate effect that traditional Belgian chocolate shells have, and hey! presto, a dish of goodies. 🙂
And now for Miss Lemon’s office, land of filing…
I hunted down all the filing units I could! The result was a bit of mismatch color-wise, but I thought it was worth it. Still missing a number of items, like the all-important typewriter, a few lamps, and so on, but the organization’s coming along. There will be a window in the wall behind the desk. I might possibly move the smallest “bookshelf” into the foyer… not sure yet.
I took a new photo after deciding to stick one of my miniature clocks on that bookshelf! It reminds me of the episode The Dream! 🙂
Probably not all of this stuff will stay on this shelf, but I liked the idea of a little bowl of lemons to indicate the office occupant! The bowl on the right has the rest of the chocolates I made up with my mold; they’re not really necessary for the scene, especially if I keep the cute little candy jar.
The file cabinet on the left originally had round knobs on ALL of the drawers. I took them off and replaced them with hand-cut “metal” labels and drawer pulls to make it look more like a filing system. I meant to have that desk organizer on the desk, but it’s too big. Still deciding whether to dispense with it altogether.
Currently, a teeny deck of Tarot cards resides in the desk– also an episode reference.
The entire scene so far, sans room box and partition…
A couple of weeks ago I blogged about the paternalistic tendency of Poirot to organize other people’s lives for them, and the condescending way this sometimes played out in his interactions with Hastings in the series.
What happens when a character dares to do the same with Poirot? Much entertainment! In short, whenever there is fuss, Hastings invariably gets told off.
In the books, Poirot sometimes allows himself to be condescended to by behaving more naively “foreign” than he really is, to deceive others in the course of an investigation. For all his vanity, he is willing to buy success by (temporarily) enduring scorn, or being thought a mountebank.
‘It is true that I can speak the exact, the idiomatic English. But, my friend, to speak the broken English is an enormous asset. It leads people to despise you. They say– a foreigner– he can’t even speak English properly. It is not my policy to terrify people– instead I invite their gentle ridicule. Also I boast! An Englishman he says often, “A fellow who thinks as much of himself as that cannot be worth much.” That is the English point of view. It is not at all true. And so, you see, I put people off their guard.’
-Three Act Tragedy
Not much of this particular quality makes itself blatant in the course of the series, but other forms of condescension present themselves– sometimes welcome, and sometimes not.
Hypochondria is just one of Poirot’s irritating-but-much-loved traits, and one particular expression of his vanity. Generally, he is only too delighted to be fussed over. But there are various scenarios in which he dislikes the attentions, such as when his personal dignity is affronted, or when being fussed over prevents him from doing what he would rather be doing (such as investigating), or when blatant opportunists want to take advantage of him. In those situations, coddlers, fussers, and patronizers beware. Unless you’re Miss Lemon, who can get away with anything.
Classic examples in The Mystery of Hunter’s Lodge…
Hastings: “You get back into bed now. You can leave this to me.”
Hastings: “This investigation. You can leave it to me. I’ll report back to you, of course. I know these people, Poirot. I’ve got one or two ideas already.”
Poirot: “What are these ideas, Hastings?”
Hastings (holding up a finger): “You just relax.”
Poirot: “Hastings, will you please stop tapping your nose in that theatrical manner and tell me all that you know!”
Likewise, he later snaps at Japp who asks him if shouldn’t be in bed: “Possibly, but please, do not fuss!” But he happily accepts blackberry tea from a paternal railway operator as he wheedles information out of him for the sake of the case.
Jewel Robbery at the Grand Metropolitan is comprehensive in showing how Poirot deals with “fusses” of both the patronizing and non-patronizing variety. The first time he encounters someone playing the newspaper game of hunting for “Lucky Len,” he is pleased at being recognized as someone whose face has often been in the papers (later to be disillusioned). But when Mr. Opalsen uses Poirot’s presence at his play for the sake of newspaper publicity, he is outraged and takes his revenge by later getting the otherwise innocent Mr. Opalsen arrested. Comparatively, in The A.B.C. Murders, Poirot receives somewhat unflattering newspaper coverage to Hastings’ concern, but does not himself seem to mind, as he hopes it will help the murderer relax his guard.
Jewel Robbery suggests something else of Hastings’ very occasional patronizing air. Extremely laid-back compared to his ever-interfering and micro-organizing friend, Hastings only seems to present this attitude in the case of serious illness or, notably, faced with the terrifying prospect of Miss Lemon coming down on him like a ton of bricks for dereliction of duty.
Hastings: “This was meant to be a rest, you know. Heaven knows what Miss Lemon’s going to say when she arrives.”
Miss Lemon (arriving later and meeting Hastings with a snarl): “I thought this was meant to be a holiday, Captain Hastings. I’ll talk to you later.”
Then there’s Evil Under the Sun, in which the script writers decided to invent the pretext of a health concern for sending Poirot and Hastings off to the Sandy Cove Hotel. While Poirot sits in leisure, conversely moaning pitifully and then complaining that everyone knows he’s ill, Miss Lemon is at her most sternly efficient. Call it maternal rather than paternal– she’s in league with the doctor and brooks no denial as she arranges for the pair to head to the island without a word of consent from either of them. Undoubtably, Hastings’ subsequent hovering at the hotel is due largely to the fear of the wrath of Miss Lemon.
Hastings: “How are you feeling, Poirot? Not too tired after the journey?”
Poirot: “Hastings, I am recovered, I am not the invalid. There’s no need to act like a mother chicken.”
Later, we have further evidence of what lies behind Hastings’ concern…
Hastings: “So, how are you feeling, Poirot?”
Poirot: “Do you refer to my health, Hastings, or to my feelings concerning the events on this island to which I am confined?”
Hastings: “Well, both, really. I’m going to have to phone Miss Lemon today. She wanted a daily report.”
Poirot: “You may tell to her that I am not sure.”
Miss Lemon eventually shows up, grumbling: “He was meant to be having a rest.” But as Christie readers (and viewers) know, Poirot does not actually need coddling to get better– just opportunities to exercise the little grey cells, a tisane or two, and a good boost to the ego. The opening scenes of The Third Floor Flat feature more of Miss Lemon making a fuss.
Miss Lemon: “Ah– Mr. Poirot. You’ve only done seven minutes. You’ll never cure your cold if you don’t obey the instructions.”
Poirot: “I can’t imagine a method so undignified can cure anything, Miss Lemon. And now also I have the backache, eh!”
Sure enough, the stimulation of the case soon has him on his feet again: “Poirot does not have colds, Miss Lemon. It is well-known that Poirot scorns all but the gravest afflictions.”
Then, again, there’s Curtain. So many of these themes that wind through the Poirot canon come full circle in that book and episode. In the final story, Poirot is faced with the ultimate in coddling, and expresses his disgust openly at being treated like a child– although some of it is a ruse. And of course, he’s forever howling at Hastings, alternately for his stubbornness, his denseness, or even his inability to coddle properly.
One thing is not a ruse: Poirot’s arthritis. In the critical scene of Hastings’ confession to Poirot of his nearly-attempted murder, something is happening throughout the course of the conversation. It is not commented on, but in many ways, it is just as meaningful and gut-wrenching as the dialog. Poirot is sitting in front of an ancient mirror, attempting to tie his perfect bow tie. He can’t quite manage it. Finally, wordlessly, he appeals to Hastings for help– the one whose tie he had been straightening for so many years.
Since I’ve already covered the Hastings novels (no pun intended), I thought I’d round off the rest of the covers with “series sidekicks” Inspector Japp and Miss Lemon.
This cover for the story collection Murder in the Mews features Japp and Poirot contemplating a red “kipper” of a cuff link. Apparently I took this picture before painting the black line frame around the image! The quote on the back features an oft-reiterated sentiment from Poirot on the topic of murder.
This mini was the last one I ever painted, and I was happy to get Japp on just one more cover before the series was completed. He features in seven novels, after all, but was often squeezed off my covers by Hastings. This novel features Japp but not Hastings, and so was an ideal one to feature the good inspector. While I was painting this, my iPod actually fired up “Take On Me” by a-ha, and if you don’t know why that’s hilarious, well, it’s because Philip Jackson (in magnificent, rotoscoped glory) appears as Pipe Wrench Guy in the song’s video, which is considered by many to be one of the greatest music videos ever made. Go watch it now. Or maybe watch the literal video version for some extra giggles. Anyway, I was in hysterics while painting for that reason.
This photo is terrible, terrible, terrible, but Pauline Moran turned out nicely enough on this cover of Hickory Dickory Dock. Yellow is for Lemon. This novel was the most obvious one to feature Miss Lemon on the cover, as she (and her sister) feature prominently in the story. I rather wish I could take better photos of these book minis, but I don’t have them anymore. (And if I did, my photos would still be terrible!)