Brian Sheridan
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PBS in the US will broadcast David Suchet in a new version of "Murder on the Orient Express" on July 11th. I wrote an article on it and interviewed Dame Christie's grandson Mathew Pritchard. The link is to the magazine:
http://www.wqln.org/main/lake erie lifestyle/editions/10_07/magazine.aspx
For all of us Lounger's, I am pasting here the unedited interview with Pritchard for your enjoyment.
1. How did the 1974 version of “Murder on the Orient Express” impact Dame Agatha’s career and legacy?
The appearance of the 1974 film was in many ways a seminal moment in the visual interpretation of Agatha Christie. Never before (except perhaps the Witness for the Prosecution film, directed by Billy Wilder with Charles Laughton and Marlene Dietrich) had such an all start cast of actors, directors, scriptwriters etc assembled and played Agatha Christie straight with such staggering success, not only critically but financially. As you know, the movie industry is easily led by success (and failure!) and it is possible to argue that this one film was instrumental in making possible all the visual development in the 1970s and 1980s that followed.
2. What were the thoughts about the attempt to modernize Poirot in the 2001 American TV version of “Murder on the Orient Express” starring Alfred Molina?
With the benefit of hindsight, I am not sure this interpretation was a success. "Updating" is a controversial topic in any event, and I think if we use it at all it is more successful with titles that do not feature Poirot or Marple - q.v. two Warner TV movies of the 1980s, Murder is Easy and Sparkling Cyanide which I have always felt were underrated.
3. David Suchet‘s “Poirot” series is, in the minds of many, the definitive portrayal of the detective. However, the scripts often deviated from Christie’s original work. The scriptwriters not only added in characters not always present, like Capt. Hastings and Miss Lemon, but also significantly changed the plots. What is your reaction to those changes?
I would prefer to replace the word "often" with "sometimes" in your question! If you aspire to employ top quality scriptwriters and directors (in particular, but actors too) it is not sufficient simply to produce rigid reproductions of the work. There has to be an element of surprise and innovation to hold a modern audience's attention - the trick is to do this in such a way as to retain the brand image of Agatha Christie. With David Suchet's help I think we have achieved this with some success, though I will admit to some nervous moments. There was a time when the producers felt that Poirot worked better visually with Hastings, Japp or Miss Lemon, though we do not do it any longer.
In our defence, my grandmother often did it herself (e.g. Black Coffee and The Hollow). She also, occasionally, changed her own plots to fit different circumstances like stage plays.
4. I have not yet seen the new version of “Murder.” How far, if at all, does it stray from the original book? How much say does The Estate have on such matters?
I think you will find the new Orient Express differs considerably from either of its two predecessors. It keeps pretty much to the book but there are additions and subtractions, particularly at the beginning. To whet your appetite, the film emphasises my grandmother's long-held view that murderers should be brought to justice.
5. Does the new version improve/correct changes made for the 1974 film? What would Dame Agatha have thought of it?
I repeat, almost no film is an exact reproduction of the book on which it is based. I have too much respect for my grandmother's genius to predict what she would have thought, but I can tell you that she loved the 1974 version, which was almost the last adaptation of her work that she saw. So, it will be a hard act to follow.
6. Will fans be pleased by this version of “Murder on the Orient Express?” Will it generate a “which version is better” debate between those who love the 1974 version and this one?
I have no doubt as usual that some will and some won't! As far as the second part of the question is concerned I am sure it will, and quite right too! It is to my mind a tribute to my grandmother's genius that debates of this nature are so frequent!
7. Finally, what is it about “Murder on the Orient Express” that makes it so appealing? It has been a consistent best-seller, made into 3 movies, one video game, a graphic novel.
I am tempted to say because it is a rattling good story. Leaving aside the adaptations that you mention, the book sells consistently well and I have never met anybody, from the ages of about 11 to 90, who has not enjoyed it and wanted to read more Agatha Christie. It has originality, tension, a strong appeal to moral rectitude and a whodunit element - what more can you ask for?
http://www.wqln.org/main/lake erie lifestyle/editions/10_07/magazine.aspx
For all of us Lounger's, I am pasting here the unedited interview with Pritchard for your enjoyment.
1. How did the 1974 version of “Murder on the Orient Express” impact Dame Agatha’s career and legacy?
The appearance of the 1974 film was in many ways a seminal moment in the visual interpretation of Agatha Christie. Never before (except perhaps the Witness for the Prosecution film, directed by Billy Wilder with Charles Laughton and Marlene Dietrich) had such an all start cast of actors, directors, scriptwriters etc assembled and played Agatha Christie straight with such staggering success, not only critically but financially. As you know, the movie industry is easily led by success (and failure!) and it is possible to argue that this one film was instrumental in making possible all the visual development in the 1970s and 1980s that followed.
2. What were the thoughts about the attempt to modernize Poirot in the 2001 American TV version of “Murder on the Orient Express” starring Alfred Molina?
With the benefit of hindsight, I am not sure this interpretation was a success. "Updating" is a controversial topic in any event, and I think if we use it at all it is more successful with titles that do not feature Poirot or Marple - q.v. two Warner TV movies of the 1980s, Murder is Easy and Sparkling Cyanide which I have always felt were underrated.
3. David Suchet‘s “Poirot” series is, in the minds of many, the definitive portrayal of the detective. However, the scripts often deviated from Christie’s original work. The scriptwriters not only added in characters not always present, like Capt. Hastings and Miss Lemon, but also significantly changed the plots. What is your reaction to those changes?
I would prefer to replace the word "often" with "sometimes" in your question! If you aspire to employ top quality scriptwriters and directors (in particular, but actors too) it is not sufficient simply to produce rigid reproductions of the work. There has to be an element of surprise and innovation to hold a modern audience's attention - the trick is to do this in such a way as to retain the brand image of Agatha Christie. With David Suchet's help I think we have achieved this with some success, though I will admit to some nervous moments. There was a time when the producers felt that Poirot worked better visually with Hastings, Japp or Miss Lemon, though we do not do it any longer.
In our defence, my grandmother often did it herself (e.g. Black Coffee and The Hollow). She also, occasionally, changed her own plots to fit different circumstances like stage plays.
4. I have not yet seen the new version of “Murder.” How far, if at all, does it stray from the original book? How much say does The Estate have on such matters?
I think you will find the new Orient Express differs considerably from either of its two predecessors. It keeps pretty much to the book but there are additions and subtractions, particularly at the beginning. To whet your appetite, the film emphasises my grandmother's long-held view that murderers should be brought to justice.
5. Does the new version improve/correct changes made for the 1974 film? What would Dame Agatha have thought of it?
I repeat, almost no film is an exact reproduction of the book on which it is based. I have too much respect for my grandmother's genius to predict what she would have thought, but I can tell you that she loved the 1974 version, which was almost the last adaptation of her work that she saw. So, it will be a hard act to follow.
6. Will fans be pleased by this version of “Murder on the Orient Express?” Will it generate a “which version is better” debate between those who love the 1974 version and this one?
I have no doubt as usual that some will and some won't! As far as the second part of the question is concerned I am sure it will, and quite right too! It is to my mind a tribute to my grandmother's genius that debates of this nature are so frequent!
7. Finally, what is it about “Murder on the Orient Express” that makes it so appealing? It has been a consistent best-seller, made into 3 movies, one video game, a graphic novel.
I am tempted to say because it is a rattling good story. Leaving aside the adaptations that you mention, the book sells consistently well and I have never met anybody, from the ages of about 11 to 90, who has not enjoyed it and wanted to read more Agatha Christie. It has originality, tension, a strong appeal to moral rectitude and a whodunit element - what more can you ask for?
