Le couteau sur la nuque

I do much prefer Death on the Nile and Evil Under The Sun, but this is still enjoyable, adapted from the brilliant book Lord Edgeware Dies. Considering it was made for TV, it is glossily made, with some nice camera-work and lovely period detail, and is entertaining. Of course it isn't completely faithful to the book, the final solution scene while a very nice touch is a departure from the book. The script is fine, and so is the acting. Peter Ustinov, while bearing little resemblance in terms of looks to his novelistic counterpart, is thoroughly entertaining as Poirot, and is clearly enjoying himself. Faye Dunnaway is highly commendable in the duel roles of Jane Wilkinson and Carlotta Adams, and David Suchet(the present Poirot, who is actually truer to the Poirot in the books) is impressive as Japp. Bill Nighy is fairly good as Ronald, though he has done better work since. All in all, very good made for TV whodunit, not as good as Death on the Nile, but an improvement on Appointment With Death, which I still think is the weakest of the Ustinov outings. 7/10 Bethany Cox

Unlike some reviewers here, and much as I admire Ustinov's talents and wit, I have never been convinced of him as the little Belgian, because decades ago I read all Dame Agatha's Poirot stories and Ustinov is too tall --- too big altogether --- and (although this will be down to the scripts plus the directors and designers of these movies) simply doesn't display the obsessive-compulsive, hyper-neat little man's character as his creator conceived and described him in print. Suchet does.

When I saw Dead Man's Folly the overriding memory that I took away was of the supreme ineffectuality of Jonathan Cecil's Hastings. There is some of that here, but far less. This is occasionally Cecil's fault, but is chiefly that of the writer who gave him nothing coherent to do or say at times, so he seemed to be standing there in the scene simply waiting for the other actors to say their lines. Here, however, Hastings is given a bit more to say, although there are times when once again Cecil is all too obviously waiting for his cue to say his next line. Where he fails seriously in his acting is when he and Ustinov are alone and discussing the case, and Cecil never varies the bland "waiting for his next line" face and had I been the director I would have screamed at him "for goodness' sake, man, look astonished! How did Poirot come up with what he's just said?" or "Look worried! Look extremely alarmed, even! You've just been told this chap's life is in danger!" This is, I have to say, just fearfully weak acting from one who should be the number two regular part in this screen crime-busting team, but who in fact all too often is simply a bit of set dressing who seems to be a half-wit mostly unaware of the deadly crimes going on around him.

I don't understand the negative vibes this one created by previous reviewers. THIRTEEN AT DINNER is an entertaining version of the Christie story with FAYE DUNAWAY enjoying herself in the dual role of a movie star obsessed with her own image, as well as a female impersonator who delights in amusing people with her look-alike job of mimicking the star. Her poses remind one of Marilyn Monroe.

PETER USTINOV is fine as Poirot and David SUCHET is equally impressive as Inspector Japp, almost making you forget he went on to play Hercule for the British TV series. LEE HORSLEY has little to do but strut around as a not too bright movie star who never performs his own stunts and he does it well.

Production values are good enough without being overly lavish, so I see no need to criticize them. Updating the story doesn't hurt as much as the updating with computer nonsense for one of Christie's best stories, MURDER IS EASY ('82) which was hurt by the modernization done by Carmen Culver on the script and putting American Bill Bixby in the lead.

Poirot's explanation for the crime makes sense and we actually see how it was done in a useful flashback at the end of the story.

For Christie fans, a good Hercule Poirot story brought to life by a talented cast.

A new batch of old TeeVee Christie adaptations have become available on DVD. I've been marching through them valiantly, looking for anything of value. Here it is. This one is good.

The story on which it is based is one of Christie's more interesting experiments in playing with the mystery form: moving the narrative structure from one untrusted device to another. These sorts of narrative folds are challenging for filmmakers, which is why I movie versions of Agatha sleight of hand.

Here, the adapters did something clever in changing the whole focus of the story from the dinner in question to the surrounding lives of the actors (and the aristocrats, same thing). If you ignore the generally cheesy production values, you'll be faced with one of the best Christie film adaptations I know.

But the real gem is Ustinov's Poirot. Now I know I am in the minority here, but I find his Poirot the most satisfying. Its a tricky thing, making these evaluations, but the reason why has to do with his relationship to the process of discovery. With Marple, the process is a matter of already knowing what needs to be known about why things occur. All she has to do is match the circumstances she finds with what patterns she has stored.

Poirot is a different sort. He is engaged in a genuine battle with evil, an obsession which he camouflages as a way to address boredom. His method is closer to the Sherlock model, reasoning from cause; following paths and possibilities. When you travel with a real Poirot, you are always living in the future, many speculative futures mapped onto data from the past to extend cause. So the second murder in a Poirot mystery is always preventable, but for his openness to too many possibilities. He then punishes himself, resulting in his most characteristic personality traits.

TeeVee has taken the detective in a different direction. The engagement in the mystery is simply to present a series of baffling scenes and then explain them at the end. Along the way, you have to be, well, "entertained." So they create characters to do so. In the books, the humor was laid on top of the detective spine. Its because though Christie was a great plot designer, she was poor when it came to wordsmithery. She made up for this by creating engaging characters. The formula is reversed in TeeVee. That's why you have Suchet's Poirot, and Brett's Holmes. Their twitching and poking makes them amusing regardless of what happens around them. Ustinov creates a Poirot more in the spirit of one engaged with the narrative, and inspired by the drive to deduce.

The bonus here is that his foil is on screen, Inspector Japp. Japp plays a different role in the detection than Holmes' Lestrade. He is competent, but limited in the ability to live in the future. He is, in fact, a junior Poirot. Here he is played by the very David Suchet who would become the much admired Poirot in a later series. His mannerisms are apparent here and distracting.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

As usual, when an Agatha Christie book is transferred to the screen, it loses something. And here, the story moved too fast to be caught up in it. In the novel, Poirot was confounded and almost couldn't solve the case; here he solves it as fast as snapping his fingers... You can't fault the actors, who give it a gung ho try. Faye Dunaway is great and Ustinov makes a very hilarious Hercule, but again, the character development Christie wrote so well is missing. The producers seem to think only plot will suffice. However, the film does look nice so it's not a total bust. (Murder on the Orient Express still hasn't been topped for all time best Christie adaption. And no one has come close to besting Albert Finney as H.P.) Side note: David Suchet as Inspector Japp is a nice bit of pre-Hercule trivia.