For those of you who object to changing a word of Christie's books or altering (= developing) Poirot's character: there have been so many filmed versions of the story, what's the point of just doing the same thing over again?
The script (by Stewart Harcourt) gives Suchet a chance to be more brilliant than ever, and modifies many details of the story in order to make it both more concise and in its own way more moving and more plausible. The1974 film version with Finney turned the whole thing into high camp—not a bad idea! But this version brings new depths to the story and new resonances.
Those who object to the introduction of Catholicism, etc., seem to ignore the way this version begins: Poirot watches his own methods of "justice" go terribly wrong when a military man whom he has proved to be a liar, and whom he castigates with terrible vehemence, commits suicide in front of him. Then he witnesses the stoning of an adulteress in Ankara. Surely a man as brilliant and cultured as he must either take such experiences to heart or not be a human being worth knowing or caring about. Poirot's brain is made of grey cells, not computer circuits. He is brilliant but vain; polite and yet capable of brutality in words if not deeds; generous yet coldly formal. What's wrong with throwing a Catholic sensibility into the mix, especially when he is growing old, and his upbringing must be coming back into mind more and more? Anyway, such is his character in this version, and I find it fascinating.
Finally, a word of praise for the superb direction of the episode (Philip Martin). Acting, camera angles, lighting, pacing—all have great style and verve, and the music (Christian Henson) adds considerably to the tension and forward momentum.
In sum, I share the enthusiasm of all the others here who have found this a wonderful episode. Thank you, David Suchet, and all others involved!
The script (by Stewart Harcourt) gives Suchet a chance to be more brilliant than ever, and modifies many details of the story in order to make it both more concise and in its own way more moving and more plausible. The1974 film version with Finney turned the whole thing into high camp—not a bad idea! But this version brings new depths to the story and new resonances.
Those who object to the introduction of Catholicism, etc., seem to ignore the way this version begins: Poirot watches his own methods of "justice" go terribly wrong when a military man whom he has proved to be a liar, and whom he castigates with terrible vehemence, commits suicide in front of him. Then he witnesses the stoning of an adulteress in Ankara. Surely a man as brilliant and cultured as he must either take such experiences to heart or not be a human being worth knowing or caring about. Poirot's brain is made of grey cells, not computer circuits. He is brilliant but vain; polite and yet capable of brutality in words if not deeds; generous yet coldly formal. What's wrong with throwing a Catholic sensibility into the mix, especially when he is growing old, and his upbringing must be coming back into mind more and more? Anyway, such is his character in this version, and I find it fascinating.
Finally, a word of praise for the superb direction of the episode (Philip Martin). Acting, camera angles, lighting, pacing—all have great style and verve, and the music (Christian Henson) adds considerably to the tension and forward momentum.
In sum, I share the enthusiasm of all the others here who have found this a wonderful episode. Thank you, David Suchet, and all others involved!