User Reviews

In "The Double Clue," we see Poirot smitten with a Russian Countess while Inspector Japp is about to lose his job because of a series of jewel thefts.

A desperate Japp calls on Poirot for help. Poirot instead starts escorting the Countess around town while Hastings and Miss Lemon try to solve the case themselves, alienating all of the suspects as they go! Those of us who know Poirot realize that he knows who the criminal is and even admires the thief's expertise. Poirot actually manipulates the case so that jewels are returned and Japp keeps his job.

Did Poirot fall for the Russian countess? I think so. Like Sherlock's Irene Adler, the Countess was that special woman who challenged Poirot as he had not been challenged previously. He follows his own ethical code but in a roundabout way this time, when in fact he could have had the criminal arrested.

An interesting episode.

This is one of only two Poirot films in which the super sleuth gets close to love for a woman. Poirot definitely romances the Countess Vera Rossakoff, in his own way. It's not certain at first that she is returning the same admiration and affection. She may be somewhat intrigued and suspicious of him. But, it soon seems that both have an understanding. He knows she is the thief, and she knows that he knows. He doesn't want to expose her, and she knows that. She also knows that he could.

So, whether out of mutual love and admiration, or just for the sake of saving her skin, she offers a solution to the predicament. That being, Poirot's solving of this crime. Well, it isn't really solving by the apprehension of the culprit, but it is in recovering the last theft, creating a red herring as a means to bring about an end to the series of thefts, and then ending them with the Countess departing for America.

Poirot uses deception at times, but always before to solve a crime and bring a criminal to justice. He uses it this time to allow a criminal to escape capture and prosecution. Some may see this episode as a romantically human side of the great detective. But I think it's to show a chink in Poirot's armor that Agatha Christie uses to say that no one human being is perfect. Not even the most honorable crime solver of all time.

"The Double Clue" is an interesting and entertaining episode - perhaps a bit slow for modern audiences. It's one in which the super sleuth solves the crime for himself only; but for the police and public, he simply brings the rash of thefts to a close. As it turns out, this was a rather simple mystery to solve, as Poirot said early on. But, as he insisted he was not involved in it - for reasons the audience soon discovers, it took quite some time to arrive at any sort of solution. And that was manufactured and pointed to by Poirot in the end.

The ending dialog is especially good. Poirot introduces the private detectives he has hired to ensure that no more jewelry thefts occur before the countess leaves England aboard a ship for America.

Here are some favorite lines from this episode. For more, see the Quotes section under this IMDb Web page of the episode.

Hercule Poirot, "One can always tell when the summer - it has arrived." Captain Hastings, "It's in the air, eh?" Poirot, "No, Hastings. It is in the speed of your driving."

Hercule Poirot, "In my experience, I have known of five cases of women murdered by heir devoted husbands. And 22 husbands murdered by their devoted wives. So thank you, no. Marriage, it is not for me."

Hercule Poirot, "We wait. Already the thief is planning his next crime. And the next one - it will be his last."

Captain Hastings, "So why did you go back into the house?" Mr. Johnstone, "The call of nature, if you must know." Hastings, "Were there any witnesses?"

Miss Lemon, "Well, that's the first time I've seen a tramp behind the wheel of an MG."

Captain Hastings, "Suppose he, uh... Poirot and the countess..." Miss Lemon, "He wouldn't... Would he?" Hastings, "I don't know. I've never seen him like this before."

Hercule Poirot, "Madam, you are the most remarkable, the most unique woman that I have ever met. But also...." Countess Vera Rossakoff, "Opposites." Poirot, "C'est ca. You must continue your work and I must continue mine. But not in the same country."

Hercule Poirot, "Countess, please allow me to introduce two colleagues of mine. Monsieurs Redfern and Blake." Blake, "Good evening, ma'am." Poirot, "They are, like myself, private detectives." Countess, "Do you really think I need an escort?" Poirot, "No, no, no. They are for your protection. During your short visit in England, there have been four very clever robberies. I would not wish you to be involved in a fifth." Countess, "Of course."

I initially found this episode frustrating because there was no tidy explanation. Then I watched it again and found it fascinating. I think this episode is not so much about how a crime was committed--or even by whom--but how Poirot reacts to a certain sort of criminal: his equal.

If Poirot seems lackadaisical, it's because he has the culprit "in hand" from very early on and is clearly half in love with her. The story isn't really a whodunit so much as a whatdoyoudonow. Will he turn her in to the authorities? That wouldn't be very romantic, and it would hardly serve Poirot's larger goal, to restore the Inspector's reputation.

In this episode, much of the subterfuge and some of the crime (complicity) is actually perpetrated by the master himself. He manages to restore the stolen emeralds, bring credit to the Inspector (and a little adventure to Hastings and Lemon) then sees the culprit off on her journey to the new world.

The "Double Clue" I believe refers to the cigarette case, left behind by the criminal because it bore the initials of someone else--but in the Russian alphabet, the initials were her own. By leaving it behind, she both implicates another, while leading Poirot right to her, which is, we are lead to realize, what they both wanted.

With that in mind, much of the pair's dialogue takes on a double meaning. The last scene is particularly bittersweet--he insisting that she have security escort her to her ship, as though for her own protection, when in truth, she's the criminal, and he just wants to be sure she's out of England. What would make Poirot circumvent the law in such a way? It must be love, n'est pas?

I am not referring the the criminal in the case.

I am talking about Felicity Lemon . She first betrayed herself when Hastings spoke about Poirot leaving.

Then of course there was the last scene when the all knowing Poirot shut her down.

Yet, they would, in my opinion have been a very good couple, Well suited.

A rather ordinary story that reminded me at times of "The Pink Panther", not for any important reasons.

The feature that makes this episode exceptional is that in addition to his little gray cells Poirot reveals that he also has little seminal vesicles.

A valuable emerald necklace is stolen at a soiré suspicion falls on four characters, one of them a Russian Countess who has fled Stalin. She's not a knockout but she has class. The main problem is that she is also a secret jewel thief responsible for four clever previous jewel thefts.

Although he figures out in no time what the Countess is up to, Poirot is nevertheless enthralled by her. Perhaps because she is the only person in England who calls him "Hercule". Although he's always polite and soft spoken with her, he saves her bacon or her borscht and allows her to leave the country without a cloud of suspicion hanging over her. For Poirot, she will always be THE woman.

We also discover that Miss Lemon has something more than an employee's interest in Poirot. When she begins to say something about it -- oh, perfectly proper, of course -- Poirot rudely interrupts her. "Good NIGHT, Miss Lemon." And it's not a joke.

Sherlock Holmes was never bowled over the way Poirot is in this case. On the whole, I think I'd like Holmes better than Poirot as a room mate or neighbor. Holmes was a slob. I can understand that. I can not understand a waxed mustache.

Poirot receives a visit from Japp who is highly concerned about the future of his job. A string of jewelry robberies has Japp's superiors breathing down his neck. Poirot agrees to help, but gets sidetracked when he becomes enamored with a Russian Countess. Can Poirot get his mind off things like picnics with the Countess long enough to help Japp and stop a thief?

As my rating indicates, I'm not much of a fan of The Double Clue. Sure, it's got all the trappings I've come to expect - solid acting, interesting location shots, great cinematography, attention to period detail, and wonderful music. But it never really feels like a Poirot episode. I'm all for trying something a bit different, but The Double Clue goes too far. Poirot's infatuation with Countess Vera Rossakoff is just all wrong. It's more like something you would expect from Hastings than the rational thinking Poirot.

BIG SPOILERS - And the ending is completely wrong. Poirot has let criminals off the hook in other stories/episodes, but usually for a reason he's able to rationalize in his mind. Take Murder on the Orient Express as an example. He lets a whole train full of murderers go because he fells that justice has been done. In The Double Clue though, he lets a jewel thief off the hook knowing full well she's liable to steal again once she arrives in America. His only concern is that she not commit another crime in England. It's totally wrong for the Poirot I know. END BIG SPOILERS

This would have to be without doubt the worst episode of Poirot to date. I never bother writing reviews, but I had to comment on this episode due to the terrible nature of it.

This does not feel like Poirot at all. Poirot is lovesick, smoking, his mind elsewhere and his lack of compassion about Japp is bewildering. There is no doubt that Poirot can be vain, rude and selfish, however the extremes he shows these characteristics here is disheartening to say the least.

Hastings has on occasion in the past shown some ability to be perceptive and has at least some vestige of intelligence, unfortunately here he seems too knowing and on the ball. Yes he is still a few steps back from events, but only marginally so here when he is usually leaps and bounds behind in previous adventures.

Miss Lemon pining after Poirot. Enough. We already knows she cares for Poirot and is eager to make him happy, but why transform this into an unrequited love.

Anthony Horowitz has absolutely butchered this episode. Characterisations that are off (I mean Hastings and Lemon wondering what they will do if they lose Poirot. Is this a joke. Poirot in love. Vomit), tawdry attempts at drama (The fly by the night tramp, more to it than that but I won't spoil it, that brandishes a gun and fires at Hastings, ambiguous character motivations, not to mention padding galore. Let's not forget Double Clue was set before Poirot was famous, yet the private investigators already know he is famous. Sloppy and lazy writing once again from Horowitz. The only thing that works is Miss Lemon and Hastings making a double act investigating (thanks to the wonderful actors).

Andrew Piddington and his directing style clash in this episode as well. The crane shots whilst visually impressive, seem out of place with the already established status quo of filming Poirot not to mention it feels like it is taking away the realism of the period drama.

All in all this feels like a hackneyed attempt at writing and directing, and once again has left me feeling that Poirot is on the decline since they decided to abandon the art deco style for the first two seasons. To make matters worse, Horowitz continues to be actively involved with the series beyond this episode. A big mistake.