Agatha Christie's Poirot

Solid and conservative work on the part of the director, a traditional concert by Suchet and a rather toiling, but all the better gradating plot in terms of the script. By the way, an episode that clearly illustrates that the power of a detective (as well as the power of a psychoanalyst) begins only when the order is irreversibly disturbed (until then, he is only a passive "evil-Precog" with no possibility to intervene). (06/01/2011)

David Suchet is a true master, and after his Poirot creation, I had considerable problems with the Agatha Christie book. The television version is beautifully "old-fashioned" gloomy and charming and extraordinarily confident, and the conceited master of the grey cortex of the brain navigates the whole plot with unprecedented interest, and partly also the confusion which a very complicated plot with the false accusation of one beautiful lady brings him. Director David Moore lets the charm of the gloomy interiors of the English mansion sound in contrast to the green interiors, and he skilfully leads the film at a tolerable pace (faithful to the book where possible) to the ending. However, this series is primarily the work of the great Suchet; otherwise it is only a decently filmed TV movie... (20/12/2004)

Although the film version with Ustinov has a great set behind it and bigger acting stars, there is no doubt that the portrayal of the main character makes the English remake convincing and faithful. I can't help but think that Ustinov is too rude and chaotic for Poirot. David Suchet's charisma is overshadowed by some of the weaker performances in the supporting roles, the obviously lower budget and the fact that I knew how to decipher the plot. Although I found some TV films with Poirot to be more successful, I still appreciate the courage of the filmmakers to challenge the film classics. Especially since, from my point of view, the 2004 version of Death on the Nile is better. (04/01/2005)

An excellent demonstration of the old English detective school. The typical model with a country house and an aristocratic family who gets involved in the murder of the husband of one of her members. We have seen the pattern a few times where suspicion points to everyone and the killer can only be the one who's the only one standing outside, but as before, it works wonderfully. Even more than usual, Poirot is driven by a desire to prove that his brain has no competition. Langton's film explores to some extent the conflict between detective logic and creative thinking. And as usual, David Suchet gives a pedantically full performance, which is enhanced by the excellent atmosphere of the case and the emotional ending. (04/01/2005)

Were it not for a few of Hercule's divine escapades and smug snorts, this would be a rather boring salon detective story with crazy motivation and a troubled ending. Even though I didn’t want to, most of the time I choked on the faint characters and affected conversations. I think that amongst the stories on the level of "a party at a weirdo’s house with murder instead of dessert", this one is desperately average. Half a star for the traditionally great Suchet. (21/01/2007)

A Belgian standard, the mustache of the story is satisfactorily twisted and the film wax fits well on it, but I kind of missed Hercule's insight and the more juicy bonmots of "the grayest cortex in the world". I think that it would be a portion for the series that is just right, because it gets a little boring as a TV show. Of course, it is pleasant to watch, and David Suchet is a reliable guarantee. (08/01/2007)

After two sheepish evenings, Hercule's return in series form. Less cold direction, a more vivid camera, better characters, more emotions and a master detective very drawn into the complex story. At the end, as the cherry on top, an elegant double twist, which unfortunately suffers from considerable complications in the finale. Nevertheless, I had a lot of fun and felt the tension that I love so much about this series... (21/01/2007)

An almost brilliant adaptation of the novel, plus a wonderful update of a slightly hackneyed series. Poirot brought ethically ad absurdum, from "whodunit" detective novels to an astringent and at first unbearably intense drama about justice. If it weren't for a few hideous digital mashes, it would be a masterful structure undershot by Suchet's dark side of power and a rather unconventional instance of God, who this time will triumph over the power of the detective's rationality. Never before has Poirot been so vulnerable to what he investigates - and he has never been so consistently helpless and defeated. Philip Martin did a brilliant job and for me he made the most special and distinguished Poirot, which, personally completely got me with its rawness, darkness and breaking of the solid framework of the traditional detective story. (14/01/2011)

More shaky filming and strange angles, less tidy beauty... you can feel that the creators want to bring Poirot closer to the current audience, for whom the fragrant Biedermeier of the older series is already a bit de mode. The plot is quite predictable by Christie's standards and is not overflowing with emotions. I would rather call it a standard collection item. [75%] (25/11/2013)

No, Hercule should not run away from and escape explosions, because it always seems so ridiculously unbelievable. The effort to bring more rawness into the pedantic world is not particularly refreshing in this form. As convoluted as a Nordic detective story, darker thematicization of the Nazi threat, squinting at current trends in "socio-political manipulators"... but in the end, the best part is when old friends meet years later. In the 13th series, it embodies the "search", but what is eventually found is not dazzling enough to deprive one of a penchant for proven Poirot nostalgia. [70%] (25/11/2013)

The 2010 Orient Express was unique mainly because it presented Hercule from a new angle and was totally consistent in therein - it subjected everything to the dark psychological picture of searching for a broken man. This episode attempts to do something similar (the return of the Hercule-lover torn by guilt), but is desperately inconsistent as it stumbles between the backdrop of Swiss operetta and the sentiment of a nickel-and-dime novel. This time, Hercule's femme fatale looks like a cheap and vulgar Russian prostitute, the unraveling is explicitly demented and the alpine hotel looks like a poorly lit stage for a dubious piece. Only Suchet sails through it with enormous grace. Otherwise, it’s a weak link in the 13th series. [55%] (25/11/2013)

It comes slowly and creepily sadly with the detective, who is trapped in a wheelchair with his gray cells. After about an hour, waiting for sentiment and tears, the biggest twist in 25 years and one of Suchet's best acting etudes (shots in the dark) will come. Nordic whispered colors, a perfect touch for framing, an excellent villain - simply amounting to precisely dealt cards. This is not a safe episode for the older generation, but rather a moral dilemma overcoming Philip Martin's famous Orient Express. The great "broken" composition of the second half hides THE little sentiment in a cute cup at the last possible moment, when the curtain almost touches the stage. They were good days. They have been good days. Until the end. It is an intoxicating feeling when an aged companion leaves life with dignity, without self-pity, and at the same time leaves you feeling that you did not know him as much as you thought until the last moment. [90%] (26/11/2013)