This is a small canvas board, 5×7″. I really like the mysterious lighting and the comparative lack of color in the image, as well as the “blurry” Japp in the background. But as I try to explain to people, when painting a film screenshot like this (image from The Big Four), half the battle is just finding a shot where the lighting IS good. They’ve already done all the work of making a good screen image; I just adapt it to paint. 🙂
Not very long ago, I suggested that if the Agatha Christie estate would release The Big Four as a graphic novel, they could have all my money.
Well, it turns out that this book was in fact made into a graphic novel (as were other Christie stories). So, true to my word, I promptly disposed of the bulk of my earthly lucre, that is to say about ten dollars, and ordered it. I’ll probably receive it in a few weeks.
But I’m suspicious.
The cover– hardcover!– looks pretty promising. Nice “number 4” shadow, mysterious silhouette, and creepy dragon emblem.
But the back cover– the back cover seriously alarmed me. The graphics were all right. The chess pieces, with the prominent bishop, are perfectly appropriate. But do you see what troubles me? Click on the photo so you can zoom and read the synopsis in the green bishop.
Yeah, pretty much nothing in that synopsis is actually true.
***Spoilers for The Big Four ahead***
I’d hardly describe Captain Hastings as being particularly drawn to the quiet life– even at his times of greatest peace and quiet, he’s only too eager to be distracted by the action of an exciting criminal investigation, the more dangerous the better. And who exactly are these strangers who shuffle Poirot off on “round-the-world trips” to defeat criminal masterminds with exotic code names? He voluntarily makes a few brief jaunts to France, Belgium, and Italy, and never takes his dreaded sea journey to South America. And Achille Poirot never announces to Hastings that Poirot is dead; Achille doesn’t “show up” until well after Hastings is assured that Poirot was alive. I wouldn’t call The Big Four one of Christie’s most “ambitious books”– although I’m very fond of it myself, it has plenty of uncharacteristic notes, jumbly confusion, and an overall negative reputation as her books go. I believe that Christie herself hated it. The only thing here I’d really agree with is that being a (sort of) international spy thriller, it is ideally suited to be turned into a graphic novel.
The synopsis makes one wonder: is this graphic novel just a sort of loose adaptation of the book? Or is it just a weirdly bad synopsis that we should ignore? When I get my hands on my copy, I’ll be sure to post a review here… stay tuned! 🙂
*Spoilers as always!*
I’ve heaped praise on various locations and props used in The Big Four. Time for some criticism! 😉
In this (loose) adaptation of The Big Four, a journalist named L.B. Tysoe receives communications from a mysterious source about the sinister motives of the so-called “Peace Party.” The party is, allegedly, a cover for an international conspiracy headed by four super-criminals. However– sorry, there’s no nice way to put it– Tysoe seems to be singularly terrible at writing, and not just because he’s prone to sensationalism and doesn’t check his sources. Judging by what’s printed, he actually seems to have no grasp of the English language.
Observe this little article snippet below. Only part of it is visible, but note the fragments “He suffering blows” and “was found with by his throat brutally slit.” WHAT.
But wait, it gets worse. Click on the Savaranoff article and you can zoom a bit, if you dare. I had actually typed it out in all of its incoherent, badly-constructed, and poorly-punctuated glory, but finally decided that you shouldn’t have to suffer twice over on my account…
But there’s more. Having no originality, Tysoe actually plagiarizes parts of his own dreadfully-written articles.
The horrendous journalism continues with the “unmasking” of Number Three. Mme (or Madame; he can’t decide) Olivier’s friends were “taking her to dinner with at Clarridges.” Hyphens are apparently an optional form of punctuation. And during a quiet spell, the Big Four “seized to act.” AAAAGGGGHHHH!!!!
Tysoe even gets some of his basic facts wrong here. His article asserts that Olivier was last seen at 3 o’clock at her interview with Poirot and Japp, but the clock deliberately freezes at 4 o’clock, in reference to the Big Four, during her interview. Something similar actually happens in the book.
Finally, there’s Tysoe’s article about Poirot’s death. It’s probably the best of a bad lot, writing-wise, but there is still some poor construction as well as a few suspicious details. It is curious that Tysoe refers to Poirot’s exile from Belgium as taking place in the context of “the First World War.” The episode is set in 1937, before the Second World War officially began. The “First World War” would have been referred to as “the Great War” at that time.
I realize that these particular graphics were not meant to be seen for more than a few seconds on-screen. It is fiddly and daft of me to freeze, read, and critique them. But I’ll be honest– I cannot understand why these things should be so badly written. Why was such poorly-written horror allowed to be displayed at all?
What Poirot blog would be complete without a nod to the other books by Agatha Christie that feature Hercule Poirot as a fictional character? I’ll start with what is probably my favorite non-Poirot Christie: the Tommy and Tuppence collection, Partners in Crime.
Tommy and Tuppence stories are always a treat because, despite certain moments of implausibility when things sometimes get a little international-spy-crazy, the two main characters are simply SO well drawn and interact so wonderfully. The stories tend to be light-hearted and hilariously funny, and anything farfetched just adds to the fun. Partners in Crime has some aspects of unique brilliance: the two main characters are posing as a fake detective agency while solving genuine mysteries, and for inspiration, they choose to solve each case in the style and idiom of different fictional detectives. It’s really a great way for Christie to show off her talent and a treat for mystery-lovers to see her characters tackle the modi operandi of their favorite sleuths!
The major Poirot book reference is that of The Big Four, though Poirot fanatics may also notice nods to Roger Ackroyd and more. The little grey cells are mentioned fairly early in Partners in Crime, but the very last chapter of the book is reserved for a case solved in the style of Hercule Poirot. It’s called “The Man Who Was No. 16,” in reference to “The Man Who Was No. 4.”
‘So it is,’ said Tuppence. She lowered her voice impressively. “This is our last case. When they have laid the superspy by the heels, the great detectives intend to retire and take to beekeeping or vegetable marrow growing. It’s always done.’
‘Well, sir, why not use your little grey cells, and see what you can do.’
‘It’s easier to use your little grey cells in fiction that it is in fact, my boy.’
‘He is the 4 squared– in other words, he is now the No. 16. You comprehend, my friend?’
‘Perfectly,’ said Tuppence. ‘You are the great Hercule Poirot.’
‘Exactly. No moustaches, but lots of grey cells.’
‘I’ve a feeling,’ said Tuppence, ‘that this particular adventure will be called the “Triumph of Hastings.”‘
‘Never,’ said Tommy. ‘It isn’t done. Once the idiot friend, always the idiot friend. There’s an etiquette in these matters. By the way, mon ami, can you not part your hair in the middle instead of one side? The present effect is unsymmetrical and deplorable.’
Speaking of that last quote: if you like the book, you might also need the audio book. Read by Hugh Fraser, it’s almost worth it solely to hear the voice of Hastings himself call his own long-standing character “the idiot friend.” 🙂 There’s another reason to love this particular audio book– it features a bonus interview with Fraser in which he waxes eloquent about the challenges of recording about a million audio books (I forget exactly how many hours he’s recorded, but it’s insanely impressive), the technique of Agatha Christie, working on the show, and other fun stuff.
Now to the prize giveaway…
This one is a little bit girly, I suppose, but I can’t help occasionally making girly things. I dabble in crafting as well as the fine arts. In honor of Christie’s Partners in Crime, I offer you a pair of bracelets, embellished by yours truly… one to keep, and one to share with your favorite partner in crime. If bracelets aren’t your thing personally, the pair of them would make a great gift for any girl. They are 7.5″ and extend to 8.5″, and they feature two halves of a “partners in crime” heart, tiny key charms, and some of my favorite sea-glass-colored iridescent beads.
I’ll ship these anywhere in the world. To win the pair of them, just share this blog post on Twitter or Facebook and send me your name. I’ll pull a name from a hat next Wednesday and announce the winner. 🙂 Bonne chance!
One of the most touching aspects of Christie’s characterization of Poirot are those glimpses of loneliness inherent in a character who has missed out on the personal relationships that lead to marriage and family life. ***As always, spoilers for everything!***
‘I, Madame, am not a husband,’ said Hercule Poirot. ‘Alas!’ he added.
‘I’m sure there’s no alas about it. I’m sure you’re quite delighted to be a carefree bachelor.’
‘No, no, Madame, it is terrible all that I have missed in life.’
-Dead Man’s Folly
Viewers of the television series will notice that the theme develops and increases over time, especially in the filming of the novels. And yet, glimpses can be seen very early on in the series as well. Some are subtle, and others are blatantly obvious. There are nuances and shades of meaning in these fleeting and poignant moments, but they all share the same characteristic of wistful loss. Here I present 15 gloriously-rendered examples.
1) Third Floor Flat– Perhaps the first clear example in the series. It is unique, and pleasing for Christie readers, in that we get a glimpse of the nostalgic admiration of a girl who resembles an old flame of Poirot’s before the matter is explained to the viewer. So, readers who know the story are gratified to have “inside knowledge” of what lies behind the faraway smile, which will be explained in later scenes. ‘If I were your age, monsieur, without doubt, I too would be in love with her.’
2) The Plymouth Express– Another early example, this is the first clear indication we have that Poirot would very much have liked to have been a father and a husband. The expression says it all, in response to Halliday’s: ‘You’re not a father, Poirot. You don’t know what it’s like, trying to bring up a daughter all on your own… no wife to talk it over with…’ Also, it is perhaps the first time the viewer becomes annoyed with the lack of tact of those who remind Poirot what he’s missed out on!
3) The Double Clue– This one’s pretty obvious, of course, and it has the added novelty of a presently-kindled flame, with some returned affection, yet the impossibility of the relationship going anywhere. There are several other meditations on personal loss throughout the episode, from the loss of wealth to the loss of one’s homeland. But all the poignancy is concentrated in loss of a chance at love.
4) The Chocolate Box– It’s fascinating that this particular story was, when scripted, turned into another sort of dead-end romance, this time from Poirot’s past. I suppose it gives Virginie a little more “connection” to the plot than she seems to have in the original story, and since the incident is buried long in the past, one can get away with adding romantic elements. An added nuance to the sadness-tinged reunion with her is that Poirot has a glimpse of what life could perhaps have looked like for him, had les Boches not driven him from his native Belgium as a refugee: sons in native uniform, and a wife of his own country. ‘…I was just saying to Jean-Louis that he was always the most fortunate of men.’
5) Lord Edgware Dies– A rarity in that Poirot, Hastings, Japp, and Miss Lemon are all together at dinner when the conversation turns to Poirot’s lamented bachelorhood. It’s a subject that is clearly uncomfortable for Poirot, made weirder with the flattering attentions recently given him by Jane Wilkinson. Also, we have another indication (suggested as early as Third Floor Flat) that Poirot considers himself too old, and that the time of la tentation is lost in the past. ‘But now, alas, I think it is too late.’
6) The Mystery of the Blue Train– This is one of several examples of the awakening of loneliness and loss that comes, not from a romance of his own, but from some pretty young friend Poirot has met in the course of the case. In this instance, he has a travelling companion to whom he becomes an ‘avuncular.’ Like a daughter (in fact, she had lost her father and has a cry on his shoulder about it), Katherine Grey is a somewhat needy character who was taken under his wing. When she leaves him unexpectedly to go off on her own, he is struck again by the pain of solitude. The film ends when, after she leaves, he is left by the water’s edge, contemplating the happy, carefree family before him (consisting, incidentally, of an older woman, her much younger husband, and her grown daughter). This loss strikes me as resonating more with the parental sadness of the empty nest– although in Poirot’s case, his patronage came and went very quickly. I’m also reminded of one of Poirot’s iconic lines at the end of the book: ‘Life is like a train, Mademoiselle…’ And ultimately, he is fated to travel it alone. And we’re all sad.
7) Death on the Nile– A classic example, and one that works beautifully with the plot, which is seething with the desperation to which love might drive a person. ‘Love is not everything,’ Poirot says to Jacqueline. When she disagrees, he is forced to admit that he does not really understand this on a personal level, and is faced once again with the great loss of his life. At other times in his literary journey a la Christie, Poirot has expressed relief that he does not have an ‘ardent temperament’ because it has saved him from many embarrassments. But in this case the overwhelming devotion to a lover– an alien experience to Poirot– sparks pity in him, and he permits the couple to commit suicide rather than face the executioner. The precise reasons why– Poirot always has precise reasons– are spelled out a little more thoroughly in the book than in the adaptation.
8) After the Funeral– ‘The journey of life, it can be hard for those of us who travel alone, Mademoiselle.’ These are words, reminiscent of the theme in Blue Train, that Poirot states to the murderer– interestingly, very shortly after she has unknowingly incriminated herself with a fatal clue. In this context, the realization of loss and loneliness in life is displayed as a reality that transcends class, and the point of commonality Poirot finds here gives him an insight into the killer’s motive. To find another example of Poirot’s sympathy towards a woman who works as a lower-class companion and is driven to crime in a desperate bid for money, see “The Nemean Lion” from The Labours of Hercules.
9) Taken at the Flood– In this story, Poirot finds himself as a sort of godfather-type figure to Lynn Marchmont, whose father was a good friend. And, Lynn happens to fall in love with a mass murderer (!) This causes an awkwardness similar to Death in the Clouds and Three Act Tragedy– “Er, I’ve kinda just sent the guy you love to the gallows… sorry/not sorry?” But I include this example here because Lynn, of whom Poirot is ‘most fond’ and who had been planning on staying in England permanently, decides to leave again. ‘Write me a letter, Monsieur. I like your letters.’ It is a familial sort of loss for Poirot, and one full of turmoil in light of the bizarre circumstances of her departure.
10) Cat Among the Pigeons– This is one of the most curious and enigmatic moments of “wist” in the series. It is very fleeting moment in which Poirot, in the course of observing the various teachers at Meadowbank School, is watching a ballet lesson. A row of girls are at the barre and are practicing positions in pointe shoes. Poirot watches them with the most startling expression of bittersweet nostalgia on his face. Of what exactly is he thinking? The touching innocence of youth, uncorrupted by matters of crime? The disappointing fact that he himself was not to be the father of a daughter? Someone please ask David Suchet… he’s the only one who can read Poirot’s mind…
11) Third Girl– Another case (and a particularly disturbing one) in which the young couple in love awakens in Poirot his own sense of loss. This is one of the most emotional reactions Poirot has in the series; even Mrs. Oliver comments on his tears. ‘…The mystery that even I, Hercule Poirot, will never be able to solve… the nature of love…’
12) The Big Four– Almost everything in the final series touches on this theme. There’s a really interesting moment in this script when the housekeeper describes the fastidious and irritating habits of the deceased man (a bachelor), and Poirot appears to have a moment of sober enlightenment concerning his own bachelorhood. It’s very subtle and lends a moment of personal poignancy to the scene where the viewer wasn’t expecting one. Japp: “Did he ever marry?” Housekeeper: “Oh, no! Can you imagine it? What woman would have him? Woe betide you if you tried to move one of his precious books, or tidy up his bloomin’ letters!”
13) Elephants Can Remember– Poirot says to Zelie: ‘Mademoiselle, neither you nor I are married. We may never be married. But they should be.’ It’s the argument that finally persuades the chief witness to come forward with her story.
14) The Labours of Hercules– The scriptwriters were going really, really heavy on the “wist” here. The first example of the theme is Poirot’s visit to his doctor. ‘You’ve had a remarkable career– at the expense of having a family! Nothing wrong with that, but that’s what you’ve chosen…’ This is adding insult to the injury of having “failed” as a detective, and these two horrible realities dovetail to serve as the impetus to reunite Poirot’s chauffeur Ted with his lost love. This successful reunion contrasts with the totally tanked relationship with Vera Rossakoff, another grievous “what might have been” in the realm of personal relationships. There’s also an unprecedented use of fake wistfulness, when the Countess speculates what’s going through Poirot’s mind when he sees Alice, her daughter. ‘He looks at you… and he sees the life he might have had.’ We learn later that this isn’t actually what Poirot is thinking– he’s too busy having his suspicions alerted by the girl’s biting of her thumb!
15) Curtain– Was television ever as moving as this? Throughout his life, Poirot had never really brooded excessively on his regrets concerning love and family– rather, we see him repressing the pain and struggling past it. We don’t see this brooding in the final days of his life, either, as he focuses his attention on this most difficult of his cases. If anything, Hastings becomes the torch-bearer on the pain of loss in this episode– his wife, his daughter (to Franklin and Africa), and Poirot himself. In such a context, this line of Poirot’s, one of Christie’s own, is a most meaningful one: ‘My heart bleeds for you… my poor, lonely Hastings.’ Poirot knows, on every count, that Hastings is about to be left very much alone in the world. A lifetime of domestic loneliness endows him with sympathy for his friend’s losses, the blessings of which he had himself never enjoyed in the first place. Hastings finds himself choked up at this sentiment of Poirot’s, possibly because in spite of the fact that the man is near death and has struggled with loneliness for so many years– he will even die alone– it is Hastings’ loneliness, not his own, that most concerns him in those final moments.
Syon Park is a popular filming location and its distinctive settings appear in multiple Poirot episodes: most dramatically, perhaps, in The Labours of Hercules, where the classical imagery of the setting lends itself nicely to the plot…
…and also in The Big Four, where the Great Hall is used for the chess tournament.
Did you notice that Syon Park is also used for certain shots in Thirteen at Dinner, the 1985 Poirot film with Peter Ustinov? The dinner itself takes place in the Great Hall.
The property is supposed to be Sir Montagu Corner’s residence, so we also see a number of other shots of the area, like the Long Gallery…
…and various shots of the outside of the house.
Here I shall opine on a list of the best endings of Christie’s Poirot stories, both novels and short stories. (For the purposes of this exercise, I will count The Labours of Hercules and The Big Four as collections of short stories, which they essentially are.) By best endings, I don’t necessarily mean best ultimate plot twists or best solutions. I mean that, after all is said and done, the actual last few words of text themselves strike amazement into the heart and leave me, the reader, in just the right place. For the purposes of this post, the funniest endings are not included– that’s another category altogether. If you haven’t read some of these, you should be warned of SPOILERS, because I will spoil BLATANTLY, and quote, and explain. My comments will be in italics. Here goes, in no particular order!
1. Dead Man’s Folly
Then Mrs. Folliat of Nasse House, daughter of a long line of brave men, drew herself erect. She looked straight at Poirot and her voice was formal and remote.
‘Thank you, M. Poirot,’ she said, ‘for coming to tell me yourself of this. Will you leave me now? There are some things that one has to face quite alone…’
Certainly one of the most enigmatic and fascinating of Christie’s endings, we are left not knowing what action Mrs. Folliat is going to take when Poirot reveals to her that he knows the truth about her son. The reader may assume that she has something like suicide, or a double suicide, in mind. This is the interpretation used by the writers of the 2013 television episode. Christie frequently enjoys using elipses or a dash to leave the very last words hanging.
2. “The Lemesurier Inheritance”
‘You have disposed very successfully of the curse of the Lemesuriers.’
‘I wonder,’ said Poirot very thoughtfully. ‘I wonder very much indeed.’
‘What do you mean?’
‘Mon ami, I will answer you with one significant word– red!’
‘Blood?’ I queried, dropping my voice to an awe-stricken whisper.
‘Always you have the imagination melodramatic, Hastings! I refer to something much more prosaic– the colour of little Ronald Lemesurier’s hair.’
What Poirot is getting at– though it is not explicitly spelled out for Hastings or the reader– is that although Ronald, the elder of the two boys, has inherited the estate and therefore the “curse of the firstborn” appears to be broken, it may be that the curse continues after all. Ronald’s auburn hair suggests that he might actually be the son of the secretary, and not of Hugo Lemesurier at all! So Gerald is actually the true firstborn; as the firstborn, he did not inherit, in keeping with the curse; and Hugo had been trying to kill the wrong son! Despite Poirot’s words about his observation being “prosaic,” his ending sends a chill to my heart every time I read it. It puts an entirely different complexion on the events that have passed.
3. “Problem at Sea”
‘It was a trick– a cruel trick,’ cried out Ellie.
‘I do not approve of murder,’ said Hercule Poirot.
The ending of this short story is so shocking that it was altered for the sake of the television series, although this text remains essentially the same. In the book, Poirot knows the murderer has a weak heart, and deliberately seeks to shock him to death by means of a particularly stunning denouement. In other words, Poirot basically murders the guy. He does so thinking that it is the best and most merciful way for all involved, but he still deliberately causes his death. This makes that last sentence, an oft-repeated phrase of Poirot’s, so chillingly ironic. Listen to the story via this audiobook to hear the full, ruthless shock of the moment come through.
4. The Murder on the Links
‘It’s the Prince’s turn to interrupt,’ I interpolated. ‘Do you know what he said?’
‘”Hell!” said the Prince– and kissed her!’
And I suited the action to the word.
Hastings puts in a brilliant comment (it has to happen sometimes, right?) and ties up the romantic ending to this fabulous tale with a neat reference to Chapter 1 and his first meeting with Cinderella. What a pleasure this story is to read…
5. “The Mouse Walks In” (Chapter 13 of The Big Four)
I turned my head aside. Poirot put his hand on my shoulder. There was something in his voice that I had never heard there before.
‘You like not that I should embrace you or display the emotion, I know well. I will be very British. I will say nothing– but nothing at all. Only this– that in this last adventure of ours, the honours are all with you, and happy is the man who has such a friend as I have!’
Speaking of Hastings doing something amazing, he has here just put his own life and (so he thinks) the life of his wife in deadly peril to save his friend. What follows, at the end of the chapter, is one of the most moving exchanges between Poirot and Hastings to be found anywhere.
6. Cards on the Table
Despard said cheerfully:
‘Let’s stab him, Rhoda, and see if his ghost can come back and find out who did it.’
For the sheer impudence and audacity of the comment. Cent tonnerres!
7. Three Act Tragedy
‘My goodness,’ he cried, ‘I’ve only just realized it. That rascal, with his poisoned cocktail! Anyone might have drunk it. It might have been me.’
‘There is an even more terrible possibility that you have not considered,’ said Poirot.
‘It might have been ME,’ said Hercule Poirot.
This is a particularly brilliant ending because it comes across as comic OR poignant. The first instinct, perhaps, is to laugh at Poirot’s incorrigible vanity– that his death would be so much more tragic than that of an ordinary person. But then immediately one is reminded that, strictly speaking, he’s right, insofar as it’s true that if he’d been killed, the murders would not have been solved and the evil bigamist would have succeeded in his plan. The serious reality of that fact is compounded by Poirot’s own realization that his friend Cartwright was willing to let him die in such a pointless way just for the sake of testing out a future murder. All of the complexity and poignancy this entails is captured in full by Suchet’s great performance of that moment. Martin Shaw does a superb job as Cartwright, as well– everyone has tears in their eyes by the end. Go watch it!
8. Five Little Pigs
In the hall she passed two young people whose life together was just beginning.
The chauffeur held open the door of the car. Lady Dittisham got in and the chauffeur wrapped the fur rug round her knees.
When the murderer is revealed, she gives a little monologue that is a wonder of crime fiction character psychology. It underscores an observation that Poirot makes near the very end of Curtain: the worst part of murder is the effect it has on the murderer. The ending is subtle and stark, and seems to reinforce the futility of a life of luxury when obtained at the expense of a murderer’s own sanity and happiness. Zowie. I admit I prefer it to the melodramatic conclusion that the television adaptation attempts.
9. The Mystery of the Blue Train
‘Yes– yes, it is true. You are young, younger than you yourself know. Trust the train, Mademoiselle, for it is le bon Dieu who drives it.’
The whistle of the engine came again.
‘Trust the train, Mademoiselle,’ murmured Poirot again. ‘And trust Hercule Poirot– He knows.’
Just a lovely, elegant conclusion. Eminently quotable; as Christie might have said, a “typical exit line.”
10. “The Wasp’s Nest”
‘Listen, mon ami, you are a dying man; you have lost the girl you loved, but there is one thing that you are not; you are not a murderer. Tell me now: are you glad or sorry that I came?’
There was a moment’s pause and Harrison drew himself up. There was a new dignity in his face– the look of a man who has conquered his own baser self. He stretched out his hand across the table.
‘Thank goodness you came,’ he cried. ‘Oh, thank goodness you came.’
Poirot has just saved his dying friend from becoming a murderer. A wonderfully satisfying conclusion to one of Christie’s cleverest little tales.
11. “The Apples of the Hesperides”
Hercule Poirot said gently:
‘He needs your prayers.’
‘Is he then an unhappy man?’
‘So unhappy that he has forgotten what happiness means. So unhappy that he does not know he is unhappy.’
The nun said softly:
‘Ah, a rich man…’
Hercule Poirot said nothing– for he knew that there was nothing to say…
From the stories comprising The Labours of Hercules comes this deep conversation with a nun about Poirot’s most recent client. More splendid character psychology from Christie.
12. Murder on the Orient Express
‘Then,’ said Poirot, ‘having placed my solution before you, I have the honour to retire from the case…’
After a slick and streamlined investigation, the book builds to a crescendo with Poirot’s two solutions to the mystery, followed by Linda Arden’s impassioned plea, and draws to a close with Poirot’s calm and matter-of-fact pronouncement. The only hint we have of a kind of lack of closure is in those trailing elipses. Are the passengers surprised by Poirot’s reaction? What is passing through Poirot’s mind? I admit candidly that I have never seen an adaptation that completely satisfies me as far as the script’s relation to the text is concerned. The book comes across as an extremely difficult story to adapt in general, but I would really love, somehow, to see a performance in which the last few pages of the book are read pretty much exactly as written.
‘Mille tonnerres! what is that?’
He dragged me back — just in time. A tree had crashed down on to the sidewalk, just missing us. Poirot stared at it, pale and upset.
‘It was a near thing that! But clumsy, all the same — for I had no suspicion — at least hardly any suspicion. Yes, but for my quick eyes, the eyes of a cat, Hercule Poirot might now be crushed out of existence — a terrible calamity for the world. And you, too, mon ami — though that would not be such a national catastrophe.’
‘Thank you,’ I said coldly.
-The Big Four
The man beside me was not Hercule Poirot.
He was very like him, extraordinarily like him. There was the same egg-shaped head, the same strutting figure, delicately plump. But the voice was different, and the eyes instead of being green were dark, and surely the moustaches– those famous moustaches–?
…The countess leant forward and snatched at Poirot’s moustaches. They came off in her hand, and then, indeed, the truth was plain…
‘This is Achille Poirot,’ I said slowly. ‘Hercule Poirot’s twin brother.’
-The Big Four
The episode The Big Four begins with Poirot’s “funeral,” then flashes back four weeks to the chess tournament arranged by Abe Ryland, an advocate of the Peace Party. The room in which the guests are congregated– location: Syon House, Brentford– is full of copies of famous ancient statuary, including the Apollo Belvedere (located at the opposite end of the room from the chess table). You may have seen these in other films shot at this location.
There are 4 full-sized statues in the room (the Great Hall of Syon House) and the one that caught my attention was the one on the opposite side of the chess set, where the main action of the event is centered. We begin to get a good look at it when Poirot and Japp are having their little conversation about Madame Olivier.
It is a copy of The Dying Gaul.
In the ancient world, Gaul was the region of western Europe encompassing France, Belgium, and the surrounding area. The Gauls spread across Europe, with pockets reaching as far as Turkey (e.g. the Galatians). Of course, we still use the word “Gallic” to describe anything characteristically French, as in: “Poirot bowed with Gallic politeness.”
But what’s really amusant about The Dying Gaul and its place in this story is… did you know… The Dying Gaul has one of the most famous MOUSTACHES in all of sculpture? In fact, the moustache is one of the reasons that he is usually assumed to be a Gaul in the first place.
An interesting coincidence, n’est-ce pas? Beyond the fact that a man dies at that chess table… isn’t cutting from Poirot’s funeral to a room that prominently featured The Dying Gaul be a rather appropriate bit of foreshadowing?