Ten Little Indians x Five!

Agatha Christie's classic 1939 mystery novel Ten Little Indians (the original title is best forgotten) has been adapted multiple times in multiple languages for the big and small screens. Below are the five best-known versions ranked--according to the Café staff--from best to worst.

Shirley Eaton.

1. Ten Little Indians (1965) - This one is the first, and best, of three adaptations produced and co-written by Harry Alan Towers. It shifts the location from an island to a snowy retreat which becomes isolated when the only cable car is sabotaged. The theatrical version features a sixty-second Whodunit Break which stops the action near the climax to "refresh your memory with a few clues." The cast includes great character actors such as Wilfrid Hyde-White, Stanley Holloway, Dennis Price, and Leo Genn (plus Christopher Lee as the voice of Mr. U. N. Owen). However, the film belongs to Shirley Eaton, who turns the female protagonist into a cool beauty who just might be capable of murder! Alas, there's also Fabian who is hopelessly miscast...but at least, his demise comes quickly. The setting, the supporting cast, and Ms. Eaton elevate the 1965 Ten Little Indians to our top spot over other versions.

Walter Huston, Louis Hayward & Roland Young.

2. And Then There Were None (1945) - This adaptation written by Dudley Nichols opts for the happy ending from Agatha Christie's 1943 stage play as opposed to the downbeat one in her novel. It's a practice that most other screen versions would mimic. It also uses the title of the U.S. publication of the book and changes some of the characters' names. Otherwise, it's a pretty faithful adaptation set on an isolated island and blessed with a strong cast of veteran performers such as C. Aubrey Smith, Judith Anderson, Walter Huston, and Barry Fitzgerald. None of the murders are explicitly shown. Director Rene Clair even adds a touch of macabre humor to the proceedings--although that also lessens the suspense. Incredibly, 20th Century-Fox allowed the copyright to expire, so beware of poor public domain prints. You can view all the murders in this compilation clip on our YouTube channel (just beware of spoilers!).

3. And There There Were None (2015) - This is the first of several Agatha Christie television adaptations written by Sarah Phelps. The first-rate cast features Sam Neill, Miranda Richardson, Toby Stephens, and Aidan Turner. Christie purists can rejoice that it retains the island setting, restores the original ending from the novel, and features a dark, menacing atmosphere. At times, though, it's almost too grim and its three-hour length feels too bloated for the plot. 

Elke Sommer and Oliver Reed.

4. Ten Little Indians (aka And Then There Were None) (1974) - Harry Alan Towers' second adaptation exists in two versions: a 109-minute film with a subplot about spies and a more widely available 98-minute cut that is almost a scene-for-scene remake of Towers' 1965 film. Both versions are notable for their color photography (the '45 and '65 films were in B&W) and for relocating the the mystery plot to an abandoned luxurious hotel in the middle of an Iranian desert. I've only seen the shorter print, a color-by-numbers exercise that fails to do justice to Christie's ingenious premise. The international cast never quite meshes together, though it's still fun to see the suspects played by the likes of Oliver Reed, Elke Sommer, Charles Aznavour, Adolfo Celi, Richard Attenborough, Gert Fröbe, and Herbert Lom. Interestingly, Celi and Fröbe played James Bond villains in, respectively, Thunderball and Goldfinger. In the latter film, Fröbe's Goldfinger painted Shirley Eaton's character with gold paint; as noted above, Eaton starred in the '65 Ten Little Indians. 

Sarah Maur Thorp.

5. Ten Little Indians (1989) - Towers intended his third adaptation to be more faithful to the source novel. However, budget constraints led him to set the film in Africa, with the suspects living in tents! Actually, this setting works surprisingly well as it seems more plausible for a killer to sneak around a safari camp without being seen. The cast features a handful of respectable performances, notably Donald Pleasance, newcomer Sarah Maur Thorp, and Herbert Lom (who appeared in the '74 version as a different character). However, Frank Stallone (Sly's brother) makes a wooden "hero" and Brenda Vaccaro nibbles on the scenery far too often. Although the running time is similar to Towers' earlier endeavors, this perfunctory version turns into a snooze fest long before the climax.

Margaret Rutherford Goes for a Ride at the Gallop Hotel

Margaret Rutherford.

The best way to approach Margaret Rutherford's four "Miss Marple" films is to forget that she's playing Jane Marple. Rutherford's films are comedies with a little mystery and her character bears only a slight resemblance to Agatha Christie's spinster sleuth. The best of Rutherford's movies may be the second one, Murder at the Gallop (1963), which boasts a charming setting, a strong supporting cast, and a decent mystery. Surprisingly, the plot is adapted from a Hercule Poirot novel called After the Funeral.

It opens with Miss Marple and her friend Mr. Stringer (Stringer Davis) witnessing the death of a wealthy eccentric named Enderby. The police quickly conclude that the old man died of natural causes. However, Miss Marple suspects foul play based on finding a cat lurking around Enderby's residence. The old man had a deathly fear of cats. Thus, his heart attack could have been triggered by the sudden appearance of a feline.

Robert Morley as a suspect.

An eavesdropping Miss Marple learns that Enderby's fortune will be split among four relatives. Well, make that three because one of them is murdered shortly after the reading of the will. Now determined to find the culprit, the elderly sleuth checks into the Gallop Hotel, which is run by Enderby's nephew Hector (Robert Morley). The hotel's other guests include the remaining relatives who will share Enderby's fortune. Surely, one of the them must be the killer--but can Miss Marple expose the murderer before there's another homicide?

The villain's identity seems pretty obvious, though the mystery does incorporate one of Agatha Christie's patented tricks. It just strikes me as odd that the producers chose not to adapt one of the Miss Marple novels. There's even one that takes place at a hotel (At Bertram's Hotel).

The Gallop Hotel.

Still, the English countryside settings exude quaint charm, even in black-and-white. If there was really a Gallop Hotel (it was actually a farm in Aldenham, Hertfordshire), I'd certainly be interested in booking a holiday there--murderer or not!

As for Dame Margaret Rutherford, her performance is a matter of taste. I'm not a big fan, but I have film friends who find her delightful. For non-fans like me, at least her antics are nicely balanced by Stringer Davis, Rutherford's real-life husband, whose quiet presence provides a calming contrast. Robert Morley tops the supporting cast, though James Villiers and Katya Douglas have fun as a distrustful couple.

If you're in the mood for a crackling Agatha Christie mystery, then Murder at the Gallop will not be your cup of tea. However, if you're just seeking out a light comedic mystery with a short running time, then you may find it amusing. Of course, you'll need to be able to tolerate the irritating, "playful" Miss Marple music that crops up every few minutes. Unfortunately, it seems to be a staple throughout all four of Margaret Rutherford's Marple movies.

Hercule Poirot Discovers Death in the Clouds

David Suchet as Hercule Poirot.

When a passenger sitting across from him on a Paris-to-London flight is murdered, Hercule Poirot becomes determined to find the killer. It's not just a matter of bringing the criminal to justice, the timing of the crime is a personal affront to the famed Belgian detective!

Cathryn Harrison as Lady Horbury.

The victim, the mysterious Madame Giselle, turns out to be a moneylender (and blackmailer) to affluent society members on both sides of the Channel. The suspects consist of:  Lady Horbury (one of Giselle's clients), her friend Venetia, an archaeologist, a dentist, a mystery writer, and the two flight attendants. The murder weapon appears to be a poison dart shot from a blowgun. But how could anyone have committed the crime within the confines of the first-class cabin with no one noticing? As for Hercule Poirot, he was napping!

Death in the Clouds was one of three feature-length episodes of Agatha Christie's Poirot that aired in 1992 during the series' fourth season. It's a mostly faithful adaptation of Agatha Christie's 1935 novel of the same title. A few characters are omitted, but the murderer's identity, method, and motive remain unchanged. In its simplicity, Death in the Clouds is one of Dame Agatha's most ingeniously-plotted  Poirot books.

Philip Jackson as Inspector Japp.

Although Poirot's friend Captain Hastings (wonderfully played by Hugh Fraser) is sadly absent, Philip Jackson's Inspector Japp takes up the slack. The beauty of Jackson's performance is that he makes a believable Scotland Yard inspector while also supplying a light dose of comic relief. For Poirot fans familiar with Jackson's work in the series, I recommend seeking out Raised By Wolves, an offbeat family sitcom in which the veteran actor is hilarious as Grampy.

Of course, the highlight of every episode of Agatha Christie's Poirot is David Suchet's portrayal of the title character. Agatha Christie didn't live to see Suchet as her Belgian detective, but her family approved his casting. Indeed, Christie's daughter Rosalind Hicks once told Suchet: "My mother would have been absolutely delighted with what you've done." Interestingly, prior to playing Poirot, Suchet was cast as Inspector Japp opposite Peter Ustinov as Poirot in the 1985 made-for-TV movie Thirteen for Dinner.

Death in the Clouds is one of the best episodes in the Agatha Christie's Poirot series. Boasting a great setting, a clever mystery, and an impeccable cast, it's a fine introduction for newcomers and a certain delight for Agatha Christie fans.

Agatha Christie's A Murder Is Announced

Joan Hickson as Jane Marple.

For many Agatha Christie fans, Joan Hickson's portrayal of Miss Jane Marple in the 1984-1992 British TV series is considered the definitive one. It's difficult to disagree, although I'm also fond of Julia McKenzie in a later television series. But whereas McKenzie showcased Miss Marple's soft side, Hickson admirably captures the elderly amateur detective's sharp intelligence and subtle interrogation skills. Her Marple can be warm and understanding--while simultaneously probing for a crack in a suspect's alibi.

Samantha Bond as a suspect.

The highlight of the Hickson series may be A Murder Is Announced, which aired in 1985 as a three-part episode. It begins with a most unusual premise:  A notice appears in the Chipping Cleghorn newspaper announcing that a murder will take place at Little Paddocks at 7:00 that evening. Little Paddocks is the home of Letitia Blacklock, a elderly woman who lives with two younger cousins, a dear friend, a widow who serves as gardener, and a housekeeper. Anticipating the arrival of curious villagers, Letitia opens a bottle of sherry and prepares to receive her guests.

The drawing room is full of people when seven o'clock arrives. Suddenly, the room goes dark, the door is opened, and a man with a flashlight shouts: "Stick 'em up!" Three gunshots are fired amid much screaming. When the lights are restored, there is a corpse on the floor.

Letitia's friend Bunny recognizes the victim as a foreign lad who worked as a clerk at the local hotel. Apparently, he was the man with the flashlight. But who was he firing at and why did he kill himself? Or, if it wasn't suicide, who at Little Paddocks would want to kill a stranger and announce the murder beforehand in the newspaper?

Chipping Cleghorn (not a painting!).

In addition to Dame Agatha's crackerjack mystery, A Murder Is Announced makes excellent use of its rural 1950s setting and benefits from an exceptional teleplay. Powerstock, a village in Dorset, England, stands in for Chipping Cleghorn. Its quaint stone buildings and rolling hills provide a charming backdrop for murder and deceit.

The teleplay by veteran British writer Alan Plater remains remarkably faithful to the 1950 novel. Moreover, it captures the atmosphere of a post-World War II England where foreigners still drew suspicion and food rationing was a way of life. Miss Marple hardly appears in the first episode, in which Inspector Craddock (well played by John Castle) takes lead on the investigation.

Kevin Whately, prior to Morse,
as a Detective Sergeant.

When Craddock requests her assistance, based on the advice of his superior, Miss Marple confides that suspects will tell an elderly spinster things they might never confide to a police inspector. One of the series' best scenes has Miss Marple ever-so-subtly introduce the topic of family photos during a conversation with suspects. It's her way of gaining access to a family album that might contain an old photo of the killer.

As with many Agatha Christie mysteries, there are numerous red herrings and the key to unraveling the murderer's identity hinges on an incident in the past. That makes it a hard puzzle for the audience to solve, but armchair detectives likely won't mind. In this version of A Murder Is Announced, the joy lies in watching the investigation being conducted by Joan Hickson's Miss Marple.

The Five Best Agatha Christie Movies

For this list, we are omitting the numerous telefilms that appeared as part of TV series based on Agatha Christie's works (e.g., the shows starring David Suchet, Joan Hickson, and others).

Elsa Lanchester and Charles Laughton.

1. Witness for the Prosecution (1957) - Based on a short story and stage play by Agatha Christie, Witness for the Prosecution is justly famous for its twist ending--which is flawlessly executed. However, its success can be attributed to those old basics of good acting and good script writing. Charles Laughton, who had a tendency to ham up some of his later roles, finds the perfect blend of seriousness and humor as the barrister defending accused murderer Tyrone Power. He is matched by Marlene Dietrich and his real-life wife Elsa Lanchester. The latter portrays Miss Plimsoll, a nurse charged with the unenviable task of caring for Laughton's Sir Wilfred. The duo make a delightful comic team, one savvy enough to generate laughs out of the contents of a thermos. Dietrich has a more difficult role, especially since her character is a conundrum for much of the film. However, when it comes to her big scenes, she exceeds all expectations.

Peter Ustinov as Poirot.

2. Evil Under the Sun (1982) - Playwright Anthony Shaffer (Sleuth) adapted Dame Agatha's 1941 mystery classic. He reduces the number of suspects by merging two into one and eliminates two minor characters altogether. However, he maintains the central plot and captures the spirit of the novel. I know some Christie purists are not fan's of Peter Ustinov's Hercule Poirot. Personally, I think his interpretation is second only to David Suchet's definitive portrayal in the TV series. The rest of the delightful cast delivers splendid performances, especially Maggie Smith, James Mason, Roddy McDowall, and Diana Rigg. Evil Under the Sea also gets a boost from its stunning locations in Spain and a score comprised of Cole Porter songs (even if the tunes become a bit repetitious).

Shirley Eaton as a murderer?

3. And Then There Were None (1941) and Ten Little Indians (1965) - It's hard for me to separate these adaptations of arguably Agatha Christie's most famous novel. Rene Clair's 1941 film retains the island setting and features a stellar cast of Hollywood veterans (e.g., Barry Fitzgerald, Judith Anderson, C. Audrey Smith). However, I'm also a big fan of the 1965 version, which takes place in a isolated, snowbound villa. There are some weak links in the cast (e.g., Fabian, but he's murdered quickly). Wilfrid Hyde-White and Stanley Holloway provide a touch of class and Shirley Eaton keeps us guessing whether her icy blonde will be a victim or the murderer. Plus, it features the Murder Minute--whereby the stop pauses for 60 seconds to provide the audience with time to guess the killer's identity.

Bette Davis as suspect.

4. Death on the Nile (1978) - Peter Ustinov's first appearance as Hercule Poirot is smooth sailing--except for the murders that take place aboard the S.S. Karnak. It's a colorful, expensive production that won an Oscar for Best Costume Design. There's a touch of "Old Hollywood" in this, too, with the presence of veteran stars such as Bette Davis, David Niven, and Angela Lansbury (who would go on to play Miss Marple). Yes, Ustinov plays Poirot too broadly at times, making the sleuth more humorous than he should be. However, there's also a winking intelligence behind his performance that works well. Dame Agatha's mystery is first-rate and requires careful attention, especially at the beginning of the film.

Angela Lansbury as Miss Marple.

5. The Mirror Crack'd  (1980) - Angela Lansbury's sole outing as Miss Marple is a good one that finds the spinster detective up to her neck in suspects when a devoted fan of a film star is poisoned. Like the Ustinov films, this one boasts first-rate production values and an all-star cast that includes Elizabeth Taylor and Kim Novak as rival divas. Lansbury signed a three-picture deal to play Jane Marple, but when The Mirror Crack'd underperformed at the U.S. boxoffice, the film series was sadly nixed. Although I like Angela Lansbury as Agatha's Christie sleuth, my favorite portrayals are by Joan Hickson and later Julie McKenzie in British television series.

The Paramount Vault: "Appointment with Death" and "My Six Loves"

I suspect that many of you have already discovered the Paramount Vault channel on YouTube. It's a great way to watch full-length movies for free on your computer, tablet, or TV (assuming your set can connect to the Internet). There are dozens of movies available (including 32 categorized as "classic") and the image quality is very good. Granted, Amazon Prime members will recognize many of the available titles in the Paramount Vault, but there are also exclusive films. I recently watched an Agatha Christie mystery and a Debbie Reynolds comedy.

Ustinov as the Belgian sleuth.

Appointment with Death (1988). Peter Ustinov's sixth and final appearance as Hercule Poirot lacks the high production values and all-star casts of earlier big screen Agatha Christie adaptations. Actually, it followed Ustinov's three made-for-TV Poirot movies, the last one being 1986's Dead Man's Folly. Still, Appointment with Death boasts a handful of familiar stars (e.g., Lauren Bacall, Piper Laurie) and on-location shooting in Israel gives the film a glossy look.

In the opening scene, widow Emily Boynton (Laurie) destroys her husband's most recent will which divided his fortune between his children and their stepmother. With control of the family finances, she takes the family on a trip to Israel. Along the way, they encounter another wealthy widow (Lauren Bacall), her secretary (Hayley Mills), and a physician (Jenny Seagrove). They are also joined unexpectedly by the family's lawyer (David Soul), who knows about the real will. During an outing to an excavation, Emily dies from what appears to be heart failure--but you and I know it's murder!

Sweet Jenny Seagrove as a suspect?

Appointment with Death employs one of Agatha Christie's favorite plot devices: a character misinterprets what she sees or hears. (For another use of this same device, watch any adaptation of A Caribbean Mystery with Miss Marple.) Still, for those unfamiliar with Dame Agatha's literary works, the identity of the culprit may come as a surprise.

Overall, Appointment with Death is a passable Poirot mystery--assuming that you don't watch it expecting to see another Death on the Nile or Evil Under the Sun (my personal fave of Ustinov's films).

The poster focuses on the star.

My Six Loves (1963). After collapsing from exhaustion, Broadway star Janice Courtney (Debbie Reynolds) retreats to her small-town Connecticut home for some rest and relaxation. That doesn't last long--especially after Janice discovers six abandoned children living on her property. Fortunately, the handsome local pastor (Cliff Robertson) is willing to help Janice with the unruly kids.

Cliff and a blonde Debbie.

From this plot summary, I am sure you can surmise the rest of My Six Loves and you would be right about everything. It is indeed a formula comedy from start to finish. There's a youth who has to learn how to trust adults again. There's the adorable youngest child. There the cute song ("It's a Darn Good Thing") that Debbie sings to the youngsters. And there's even the cynical friend on hand (Eileen Heckert) to try to keep things from becoming too treacly.

I have friends that adore My Six Loves. Most of them are Debbie Reynolds fans, but I also suspect that this is a "comfort movie" for other viewers. There's nothing wrong with that--sometimes, it's just reassuring to watch a 1960s formula comedy set in that nostalgic world that only exists in our imaginations.

So, while My Six Loves may not be my cup of tea, you may want drink the whole pot. Just be careful about adding more sugar...

The Friday Night Late Movie: Murders Abounds in a Snow-Covered Chateau in Agatha Christie's "Ten Little Indians"

I saw this 1966 remake of Agatha Christie’s classic whodunit as a teenager, then spent over a decade looking for the more highly-touted 1945 original And Then There Were None. When I finally saw it, I was somewhat disappointed. As in the case of Hammer’s The Hound of the Baskervilles, I realized that I liked the remake better. Part of my preference undoubtedly hinges on the setting: And Then There Were None takes place on an isolated island, while Ten Little Indians shifts the action to a more atmospheric, snow-covered, mountaintop chateau. But I also favor prefer the low-wattage cast peppered with British veterans (Wilfred Hyde-White and Dennis Price) and an unusual leading lady (the strangely attractive Shirley Eaton, best known for being painted gold in Goldfinger).

Hugh O'Brien and Shirley Eaton.

The opening features dreadful theme music and an over-the-top performance by then-popular singer Fabian. However, both distractions are discarded quickly as the mystery reveals itself. Eight strangers have been invited to a remote Austrian mansion for the weekend by the mysterious Mr. U. N. Owen. Gradually, the guests discover that none of them even knows their host. They also find it odd that the nursery rhyme “Ten Little Indians” seems to be everywhere: a framed copy hangs on a wall in each bedroom, the sheet music is on the piano, and a dinner tray—playfully decorated by ten little Indian figures—sits atop the dining room table.

Suspects Daliah Lavi, Wilfrid Hyde-White,
and Eaton.

Shortly after dinner, the guests and the two servants hear a recording by Mr. Owen in which he accuses each of them of murder. When one of them dies suddenly and one of the Indians figures disappears, the guests realize that they, along with the two servants, are being eliminated one by one. The situation becomes more complicated when a search of the house fails to uncover Mr. Owen, leading to only one possible conclusion: One of the potential victims must actually be the murderer.

Shirley Eaton faces the noose.

Although Ms. Christie’s ingenious plot violates S.S. Van Dine’s famous essay “Twenty Rules for Writing Detective Stories,” the murder’s identity is both surprising and plausible. And, unlike Christie’s Murder on the Orient Express, the solution doesn’t feel like a cheat. Indeed, in the spirit of fairness, Ten Little Indians includes a “Murder Minute” near the climax, in which an onscreen clock counts down from 60 seconds as key clues are shown to the viewer again. (Inexplicably, the “Murder Minute” doesn’t appear in videotapes of the movie, but does appear in TV prints.)

Dennis Price as Dr. Armstrong.

Although the casting takes a backseat to the plotting, the mostly British actors bring life to each of their characters. Wilfrid Hyde-White as retired Judge Cannon, and Dennis Price, as the alcoholic Dr. Armstrong, rise above the others. They share a wonderful scene in which each suspects the other while playing a game of pool in a dimly-lit room. Hugh O’Brian and Shirley Eaton were clearly expected to heat up the screen a bit—he appears shirtless in one scene and she’s shown in her black lace undergarments more than once. Attractive, but in a sometimes severe way, Eaton only made a few more films and then retired from the screen.

Producer Harry Alan Towers mounted two more adaptations of Ten Little Indians: a 1975 version set in an Iranian desert with Oliver Reed and Elke Sommer and a cheap 1989 remake set in Africa with Donald Pleasance and Frank Stallone. Avoid these catastrophes at all costs and seek out the definitive 1966 film. For added effect, watch it on a snowy evening!

And here's the Whodunit Break courtesy of the Cafe's YouTube Channel:

Seven Things to Know About Raymond Chandler (in his own words)

For this edition of Seven Things to Know, we selected some choice excerpts from Selected Letters of Raymond Chandler, edited by Frank MacShane.

1. In a 1950 letter to his publisher, Raymond Chandler wrote: "I went to Hollywood in 1943 to work with Billy Wilder on  Double Indemnity. This was an agonizing experience and has probably shortened my life, but I learned from it as much about screen writing as I am capable of learning, which is not very much."

Martha Vickers.

2. On The Big Sleep: "(It has had) an unfortunate history. The girl who played the nymphy sister was so good she shattered Miss (Lauren) Bacall completely. So they cut the picture in such a way that all her best scenes were left out except one. The result made nonsense and Howard Hawks threatened to sue to restrain Warners from releasing the picture." (The actress who played the sister was Martha Vickers.)

3. On his Philip Marlowe novel The Lady in the Lake and the 1947 film adaptation: "This is the only published fiction of mine which I have tried to adapt for films. And it would take a lot of money to make me try again, and I don't think this kind of money would be paid me now from Hollywood. When a man has written a book and rewritten it and rewritten it, he has had enough of it."

4. On Strangers on a Train: "I'm still slaving away for Warners Brothers on this Hitchcock thing, which you may or may not have heard about. Some days I think it is fun and other days I think it damn foolishness....Suspense as an absolute quality has never seemed to me very important. At its best it is a secondary growth, and at its worst an attempt to make something out of nothing."

Farley Granger and Robert Walker in Strangers.

5. In a letter to Alfred Hitchcock about Strangers on a Train: "Regardless of whether or no my name appears on the screen among the credits, I'm not afraid that anybody will think I wrote this stuff. They'll know damn well I didn't. I shouldn't have minded in the least if you had produced a better script--believe me, I shouldn't. But if you wanted something written in skim milk, why on earth did you bother to come to me in the first place?"

6. On Agatha Christie's classic novel And Then There Were None: "As entertainment I liked the first half and the opening, in particular. The second half got pallid. But as an honest crime story, honest in the sense that the reader is given a square deal and the motivations and the mechanisms of the murders are sound--it is bunk."

7. After completing Playback, which turned out to be his seventh and final Marlowe novel, Chandler wrote about a potential eighth book: "My next book is to be laid in Palm Springs with Marlowe having a rather tough time getting along with his wife's ideas of how to live...Of course, I have to have a murder and some violence and some trouble with the cops. Marlowe wouldn't be Marlowe if he could get along with policemen." Chandler did, in fact, start on that novel, but died in 1959. Mystery writer Robert Parker completed it in 1989 and published it as Poodle Springs.

Agatha Christie, Sue Grafton, and Peter Ustinov (Oh my!)

In the 1980s, CBS broadcast several contemporary adaptations of Agatha Christie novels for U.S. television. Peter Ustinov, who first played Hercule Poirot in the theatrical Evil Under the Sun (1982), reprised his portrayal in three made-for-TV films starting with 1985's Thirteen for Dinner. Helen Hayes debuted as Miss Jane Marple in CBS's A Caribbean Mystery in 1983 and appeared in the follow-up Murder With Mirrors (1985). Hayes was also in a third Christie film, the earlier Murder Is Easy, but she didn't play Miss Marple.

Helen Hayes as Jane Marple.

A Caribbean Mystery finds Miss Marple (Helen Hayes) vacationing for health reasons at the tropical Golden Palm Hotel, a long way from her beloved St. Mary Mead. The first hotel guest to befriend her is Major Palgrave (Maurice Evans), a would-be writer who recounts the true story of a wife murderer. He is about to show Miss Marple a photo of the killer when he's distracted by the sight of one of the other guests. That night, the Major dies in bed, the apparent victim of mixing alcohol and high blood pressure medicine. But, as Miss Marple suspects, the Major is a victim of foul play--and he's not the only victim.

Major Palgrave (Maurice Evans) spots
the murderer.

Although it's fun to watch Miss Marple in a very different setting, A Caribbean Mystery is not one of Agatha Christie's best works. There's a minor plot twist that may surprise some viewers, but Christie fans will instantly recognize one of the author's favorite plot devices. Sue Grafton, prior to writing her bestselling Kinsey Milhone novels (e.g., A Is For Alibi), penned the screenplay with her husband Steven Humphrey. They set up the mystery well and establish the characters quickly, which is no small feat. Christie's novels contain no shortage of suspects and it can be challenging to differentiate between them in a movie with a running time of 100 minutes or less.

The biggest problem with A Caribbean Mystery is Helen Hayes. Although she is likable, as always, her character bears little resemblance to Jane Marple. She doesn't even try to muster a British accent. It's almost as if Hayes is reprising her sleuth from her 1973-74 TV series, The Snoop Sisters, with Mildred Natwick.

In contrast, Peter Ustinov makes a fine Hercule Poirot in Thirteen at Dinner. I know that most Christie purists prefer David Suchet and quibble that Ustinov plays some of Poirot's quirks for comedy. I love Suchet, too, but I also appreciate Ustinov's portrayal of the Belgium detective (as previously discussed at the Cafe).  Plus, in Thirteen at Dinner, you get the best of both worlds: one of Ustinov's co-stars is David Suchet...as Inspector Japp.

The film opens with Lady Jane Edgware (Faye Dunaway), an actress, seeking Poirot's help with obtaining a divorce. Surprisingly, Poirot agrees--only to discover that Lord Edgware has no qualms about splitting from his wife. The divorce becomes moot, though, when Lord Edgware is found murdered in his study--and all the suspects have solid alibis.

Faye Dunaway as Lady Edgware.

The main problem with this adaptation of Christie's 1933 Lord Edgware Dies is that a key casting choice gives away the ingenious nature of the crime much too early. I won't say more at the risk of spoiling the plot. A secondary issue is the decision to update the novel from the 1930s to the 1980s. Hearing characters utter expressions like "dude" in a Christie mystery just doesn't seem right. And Lee Horsley's action movie star, played broadly for comedic effort, decreases the menace in a film that should reflect at least a modest tone of danger. Finally, it's also jarring to see Poirot looking at a model's posterior and remarking" "Not bad." Yes, Hercule admired ladies, but always in a respectful fashion.

David Suchet as Inspector Japp.

Weaknesses aside, Thirteen At Dinner benefits from location filming in England, a clever mystery, and the presence of Ustinov and Suchet. The latter, without his mustache and sporting an English accent, may be unrecognizable to fans of his Poirot series. He and Ustinov work well together and it's also fun to see a young Bill Nighy as one of the suspects.

Still, Ustinov's next Poirot appearance, 1986's Dead Man's Folly, is a significant improvement. And if you want to see a better version of Lord Edgware Dies, then I recommend you seek out the 2000 adaptation with Suchet. It make take some liberties with the novel, too, but it's the better of the two films.

A Pair of Poirots: Suchet and Ustinov Discover "Evil Under the Sun"

Peter Ustinov.

David Suchet.

The case of the preferred Poirot is an easy one to solve. I suspect that most Agatha Christie purists favor David Suchet over Peter Ustinov as the Belgian (not French!) detective. Personally, I adore them equally. Ustinov may place a little more emphasis on Hercule Poirot's humorous traits, but he can deliver an accusation just as crisp as Suchet.

Peter Ustinov first appeared as the famed detective in Death on the Nile (1978), an all-star follow-up to 1974's Murder on the Orient Express (which starred Albert Finney). Ustinov played Poirot five more times in two theatrical films and three movies made for American television. In contrast, David Suchet, who made his debut in the role in 1989, has starred in dozens of one-hour TV episodes and 90-minute movies for both the British network ITV and A&E. Interestingly, prior to playing Poirot, Suchet appeared opposite Ustinov's Poirot as the detective's Scotland Yard colleague Inspector Japp in 1985's Thirteen for Dinner.

The hotel in the 1982 film.

Both actors starred in adaptations of Agatha Christie's 1941 Poirot novel Evil Under the Sun (the title was derived from a verse in Ecclesiastes). After a prologue involving a seemingly unrelated murder, Hercule Poirot journeys to a secluded island hotel where all the guests share one thing: a hatred of wealthy, former actress Arlena Marshall. When her corpse is discovered on the beach, the Belgian detective sets out to uncover the identity of the murderer. At the climax, he assembles all the suspects, confronts the culprit, and explains (aided by flashbacks) how the ingenious crime was committed.

Diana Rigg as Arlena.

Both adaptations have their virtues and both make significant deviations from Christie's novel. The superior version is Ustinov's film, which was written by Anthony Shaffer, a playwright (Sleuth) and screenwriter (Frenzy) who understands how to condense a character-heavy book. Shaffer reduces the number of suspects by merging two into one and eliminating two minor characters altogether. This makes it easier for viewers to distinguish between the suspects and also allows Shaffer to flesh out their personality traits better. It helps that many of the characters are played by well-known performers: Maggie Smith, James Mason, Roddy McDowall, and Diana Rigg.

Poirot observes the crime scene.

The 1982 film also gets a boost from its stunning locations and a score comprised of Cole Porter songs. While the novel takes place in Devon, England, the movie shifts the action to an island in the Adriatic Sea. It was actually shot in Majorca, Spain, which features breathtaking landscapes and crystal blue waters. As for the score, it's a matter of taste, but Cole Porter tunes such as "You're the Top" give the picture a nice period feel (even if the songs become a bit repetitious).

Louise Delamere as Arlena.

David Suchet's 2001 version of Evil Under the Sun keeps the mystery in England, sending Poirot to the Sandy Ridge Hotel after being pronounced "medically obese." In addition to retaining more of the novel's suspects, it includes a drug smuggling subplot and expands the roles of Poirot's colleagues: Captain Hastings, Inspector Japp, and Miss Lemon. In the end, it's just too much plot and too many characters to track given a running time of 100 minutes.

The Sandy Ridge Hotel in the 2001 film.

The island setting, while not as beautiful as in the earlier film, is still lovely (and perhaps not as distracting). As with Agatha Christie's Ten Little Indians, the isolated locale is central to the plot (though it's easier to reach a nearby village than in Ustinov's film). A cove, a ladder along the rocks leading to the beach, and the many island paths play a crucial part in a crime where impeccable timing is mandatory.

As for the mystery, it's clever enough--though Christie often seems to delight in straying from detective fiction conventions (if you've never read S.S. Van Dine's short essay "Twenty Rules for Writing Detective Stories," I strongly encourage it...Agatha breaks a couple of key "rules"!).

In the end, one's preference for Suchet or Ustinov may tip the scales toward one version or the other of Evil Under the Sun. For me--assuming parity among the Poirots--I'll stick with the 1982 adaptation.