[train whistle blows]
Downloaded from YTS.MX
[narrator] Murder on the Orient Express,
Death on the Nile,
And Then There Were None.
We've all read an Agatha Christie novel
Official YIFY movies site: YTS.MX
or watched a TV adaptation.
There's been a few over the years.
I think she's probably one of the most prolific novelists
the country's ever produced.
The only other books that have sold more than hers
are Shakespeare's and the Bible.
She created a genre, really, of crime writing
that's still around and people just love it.
It is not always that simple.
[woman screams]
[narrator] In each tantalizing mystery,
Agatha's much loved characters,
Hercule Poirot and Miss Marple,
have astonished us with their powers of deduction.
Oh, yes.
The little gray cells have done well today.
[narrator] But how did a short Belgian
and a little old lady
become two of the most famous detectives in the world?
Nobody is beyond suspicion.
It is impossible to conceal anything from Hercule Poirot.
[narrator] And how on Earth did Agatha Christie
come up with each outrageously compelling plot?
She's the queen of crime
and her plotting is absolutely fantastic.
She takes you by the hand, she leads you into the maze,
somehow she brings you out the other side
and you're not exactly sure where you've been,
but you know you've enjoyed the journey.
[narrator] Now, 100 years after the first Agatha Christie
novel was published,
and as a new Hollywood version of Death on the Nile is released,
we look back over a century,
at ten of Agatha's greatest works.
With access to the family archive.
I always think of two Agatha Christies.
There is Agatha Christie, the...
the kind of global figure,
and then there is what we in our family referred to as Nema.
She was a lovely, warm, kind person.
[narrator] We hear from the great lady herself.
[Christie] You see, I put it all down to the fact
that I never had any education.
[narrator] And reveal the life and secrets of an author
who has entertained millions.
You start believing one set of things to be true
and then she'll take you on a very windy path,
and at the very end they'll nearly always be a reveal
that you simply had never expected.
[narrator] This is a celebration of a century of Agatha Christie.
Agatha Christie is the world's most influential crime writer
from the classic drawing room "it was him" scene,
to the clueless sidekick and detective.
Red herrings and murder abound
against a backdrop of unassuming quaint charm.
Was there much blood?
She kind of paved the way
for everything that's happened since
with regards to crime storytelling
in theater and television and film, I think.
And in shows, whether it's Death in Paradise, or Vera.
Midsomer Murders.
Jonathan Creek.
Line of Duty.
We see her debt absolutely everywhere.
[narrator] But her extraordinary impact on the world
wouldn't have happened if it hadn't been for her first book,
The Mysterious Affair at Styles,
published 100 years ago,
it's the tale of a dastardly murder
in an English country house.
Exactly a century ago, a mysterious unsolicited package
arrived in Vigo Street in Central London.
Inside was a manuscript for a novel
that would mark the beginning of a phenomena
that would go on to enthrall billions of people
around the world.
This was the first novel by Agatha Christie.
Four years earlier in 1916, the First World War
had been raging in Europe.
26 year old Agatha Christie
had recently married husband Archie,
and he had gone to fight with the Royal Flying Corps abroad.
At home in Torquay, Agatha joined the war effort,
working with a nursing corps at a local hospital.
To pass the time she would often write stories.
In 2008, the Christie family discovered
unheard recordings of Agatha.
This archive offers us a fascinating insight.
[Christie] People often ask me
what made me take up writing.
You see, I put it all down to the fact
that I never had any education,
that I found myself making up stories
and acting the different parts
and there's nothing like boredom to make you write.
[narrator] But one evening, whilst reading
detective stories with her sister, Madge,
a challenge was set.
Agatha's sister made a bet with her
that she couldn't write,
or certainly couldn't get published a novel.
[narrator] Agatha took the bet seriously.
[Christie] I'd finished the first book of mine
ever to be published, The Mysterious Affair at Styles.
[narrator] Agatha could never have dreamt
of how successful she would become.
And in particular, in this first story
with the creation of the most prolific detective of all time.
He was the enigmatic Belgian with a fastidious dress sense
and a head full of little grey cells.
The scarlet pimpernel.
It is believed that when this flower is open
it is a sign of a prolonged spell of the fine weather.
It is seldom seen open in this country.
There were a lot of Belgian refugees in Torquay
at the time of the First World War
and that somewhere, somehow,
she either saw something or someone
that put, as it were, the visual clue into her head.
[narrator] Hercule Poirot appears in 33 novels,
three plays, and more than 50 short stories.
Yet his first appearance in The Mysterious Affair at Styles,
is not particularly complimentary.
[Fraser] Poirot was an extraordinary looking little man.
He was hardly more than five feet, four inches,
but carried himself with great dignity.
His head was exactly the shape of an egg,
and he always perched it a little on one side.
His mustache was very stiff and military.
The neatness of his attire was almost incredible,
I believe a speck of dust would have caused him more pain
than a bullet wound.
[narrator] And his appearance
wasn't the only unfortunate thing about him.
This very unconventional hero had some unexpected traits.
Effete.
Meticulous.
Arrogant.
Curious.
Sexless.
Infuriating.
Tricky.
[narrator] As well as a deeply ironic name.
Hercule is Agatha Christie's joke, that I remember.
She took a little man with a bald head
and a strange mustache,
an effete foreigner,
and gave him the most masculine of names
based on of course, Hercules.
He's not a fully rounded character.
We don't know a lot about his past.
We don't know a lot about his feelings and his thoughts.
But that is sort of the point.
His function in the book is to be a kind of extended brain.
It is his brain that matters.
[narrator] Not only did Agatha introduce us
to a curious and instantly memorable detective
but she established a genre that has survived a century,
that of murder and betrayal in sleepy English villages.
[man screams]
It's 100 years since the publication
of Agatha Christie's groundbreaking first novel
The Mysterious Affair at Styles.
The book that first introduced us to Hercule Poirot.
It is set in 1916 during the middle of the First World War.
Lieutenant Hastings, an army officer
has been injured fighting on the Western Front.
He's invited to spend his sick leave
at the beautiful manor house, Styles Court
by an old friend, John Cavendish.
[Fraser] Hastings is staying at Styles, a very beautiful mansion.
Had a very nice long driveway.
It really does tick a lot of the boxes
that we might expect from Agatha Christie.
She's good enough to supply us with a floor plan
which means that we really have to think about the novel as a puzzle.
[narrator] But all is not well at Styles.
John's stepmother, Emily Inglethorp,
has recently found a new, somewhat younger, husband.
Mr. Hastings, my husband.
I'm delighted to meet you lieutenant Hastings.
[narrator] And the rest of the family
are suspicious of his motives.
Watch that devil!
The characters we see in Styles
are probably the type of characters who lots of people think
are the archetypical Christie sort of list of suspects
and victims, because we have upper middle class
or upper class people here.
But they're also people who are very interested
in things like hereditary, wealth,
and how this is gonna work for them.
So lots of people who might have a good reason
to perhaps change the family tree in a particular way.
[narrator] As she was writing her novel,
Agatha was moved from general nursing work
to the more specialized pharmacy
where she began to learn about poisons.
This would go on to feature as the murder weapon
in many of her stories and Styles was no exception.
When Mrs. Inglethorp is found poisoned,
Agatha uses her specialist knowledge
to cleverly develop the mystery.
[exhales raggedly]
She has really thought through the way
that a particular suspect
might be able to administer a fatal dose of this poison.
Hastings, being there
suggest calling in an old friend of his
whom he knows to be in the vicinity
who, wow, happens to be the greatest detective on Earth.
That's handy.
[narrator] The Mysterious Affair at Styles
was also the moment when Poirot acquired his sidekick.
Hastings?
Good Lord. Monsieur Poirot.
It is, indeed, mon ami.
I played the role of Captain Hastings
in the television series, Agatha Christie's Poirot.
I got a call from my agent
and then they asked me to go back subsequently
to read with David Suchet,
and we read a couple of scenes
which seemed to go quite well
and they asked me to play the part.
You know they're completely opposite characters.
Hastings is much more worldly than Poirot.
Poirot is supremely intelligent and analytic
and incredibly tidy and meticulous about everything.
Hastings is quite the opposite.
You say to me that Madame Inglethorp
-ate very little for supper? -Yes.
One of those curious little facts, mon ami.
We put it here.
The detective needs two things.
He needs somebody he can talk to,
so that he can explain what his thought processes are,
but also the author needs that sidekick
to misdirect the audience.
We are possibly half a step ahead of Hastings
because he'll say something like,
"If you cannot see in this room what I see
my dear friend Hastings,
then you are even more of an imbecile than I thought."
And of course we are then tantalized by that.
What is it he can see that Hastings can't see?
We flatter ourselves we're cleverer than Hastings,
but we still can't quite see it.
[narrator] Over the years the eccentric Belgian detective
has appeared in dozens of feature films
with many great actors taking the role
including Peter Ustinov, Albert Finney, and Kenneth Branagh.
But it took over 70 years for Poirot to make it
onto the small screen
and getting the very first adaptation off the ground
was no mean feat.
So my mum who was TV producer, Pat Sandys,
and she had persuaded the estate to allow her,
my mum,
to put Agatha on the small screen,
'cause Agatha in her lifetime had said films or nothing.
And mum always described it as going to the board,
the Christie board,
and giving a sort of an oral examination
of her immense knowledge of Agatha Christie.
[narrator] ITV's Poirot series was first broadcast in 1989
and went on to run for a staggering 70 episodes.
Actor David Suchet played Poirot in every one of them
and for many he has defined the role.
It's almost like something weirdly magic is going on
because he seems to me just to actually be
the perfect embodiment of Poirot.
Whenever I read Agatha Christie now and read a Poirot,
I'm afraid I see David.
[narrator] David Suchet's approach to the role
has become the stuff of TV legend.
He wore a fat suit and so he had this custom-made
kind of wooden thing where he just sort of leaned into it.
So in between takes, he'd just sort of sit there
in this thing and lean and have his cup of tea and stuff.
It's well know that he remains in character
a lot of the time.
[Horowitz] I don't think I ever spoke to him on the set as himself.
He was the character,
when he was having lunch, he was the character.
It was a kind of moment of truth when we did
"Death in the Clouds,"
some of which was filmed in Paris,
there was a big French crew, as well as some English.
David came out and said,
"Ah bonjour, bonjour mes amis."
And the first assistant came over and said,
"Ah, bonjour David,"
and then started speaking French
in a really fast Parisien way.
[garbled imitation of French]
And of course, David didn't get it,
'cause he doesn't speak French that--
quite as well as you think he does.
[chuckles]
[narrator] The introduction of Poirot
and his relationship with Hastings
were not the only seminal aspects
of The Mysterious Affair at Styles.
There was one other groundbreaking element
that like the book itself almost didn't happen.
It was actually suggested by the publishers.
Madame et monsieur, good evening.
Originally Christie had written the ending of
Mysterious Affair at Styles
to take place in a courtroom.
At the suggestion of her publisher
she went back and rewrote it to be a-- more of a--
what we could think of as a drawing room conclusion.
Agatha Christie invented this summing up
where Poirot gathers people together at the end
and you know that the criminal is in the room.
Poirot goes round and says, it could have been you,
it could have been you,
it could have been you.
And you keep on waiting for the blow to fall.
And yet Madame Inglethorp ordered a fire
to be lighted in her room.
Why?
Because she wanted to burn something.
Precisement Inspector Japp.
It's not something that a Scotland Yard detective
would do, but he had to put up with it
because that was his way of doing things.
And that became obviously a staple of the genre
and obviously of her own work.
[narrator] Agatha's drawing room conclusion
was impressively inventive.
Not only was it adopted by numerous crime writers
but it's also in the vast majority
of murderers television dramas like Death in Paradise.
Following the success of her first novel
Agatha Christie wrote four more books.
By 1926, she was considered a successful novelist.
She and her husband, Archie, moved into a brand new house
in Sunningdale, Berkshire, that they had called Styles,
and they had a daughter, Rosalind.
It was the publication of her next novel
that established Agatha as not only a popular author
but also one who could redefine the genre.
It tells the tale of another scandalous murder
in a sleepy English village.
But this one is a murder with a twist.
The Murder of Roger Ackroyd is significant
because it's Christie's most daring crime mystery
and its twist fundamentally changed detective fiction forever.
It does something really audacious and unexpected.
It is still one of the most extraordinary twists
in detective fiction.
That was the book that really set her up.
That was the book that made her name.
I cannot say what it is
about The Murder of Roger Ackroyd
that makes this book unique.
That is the problem here.
[narrator] The story is set in the quintessential
English village of King's Abbott.
You've got the two big country houses,
one is Roger Ackroyd's,
one belongs to a lady called Mrs. Ferrars,
and they've been having a bit of a thing.
And then it turns out that Mrs. Ferrars has killed herself.
And then it turns out Mrs. Ferrars has killed herself
because someone was blackmailing her.
[man] I will kill you!
[narrator] Another resident of King's Abbott
turns out to be none other
than the famous detective Hercule Poirot,
retired and without his sidekick Hastings.
I think Christie realized pretty soon
that actually she was quite encumbered by Hastings.
So she was quite happy to marry him off
and send him to the Argentine.
[phone ringing]
[narrator] The Murder of Roger Ackroyd
is narrated in the first person
by Poirot's neighbor, Dr. Sheppard.
Dr. Sheppard in the book, plays the Hastings role.
He accompanies Poirot,
he knows a certain amount of what Poirot is thinking.
The friendship between Poirot and Dr. Sheppard,
who is so desperate to help him solve the crime
is a really interesting one
particularly in light of what happens.
And you've also got Sheppard's sister, Caroline.
I saw something quite peculiar just now.
[Sheppard] Really?
She knows everything that's going on in this village.
He was talking to a girl.
And if she doesn't know it
she's jolly well gonna find out.
[door thuds]
No. The fewer people disturb this room the better.
[narrator] The incredible twist at the end of the book
was suggested to Agatha by two very different people.
Her sister, Madge's husband,
and a member of the Royal family, no less.
[Christie] The Murder of Roger Ackroyd
has been a very decided success,
firstly of course was having found
an original twist for a detective story slot.
this which I must say, I owe mostly
to my brother-in-law's chance remark,
and as a matter of fact,
the same idea though in a different form
was suggested to me by no less a person
than Lord Louis Mountbatten.
The secret of Roger Ackroyd
is in pretty much every sentence of the book.
And I read it a second time simply to see
if there was a single sentence that was fake
or which lied to me.
And I can tell you, there isn't.
I think it's a brilliant book to reread
because to see how she has placed those clues
is just exquisite.
[glass shattering]
[narrator] Adapting the book for television.
Are you all right Chief Inspector?
[narrator] Was not a challenge for the faint-hearted.
I've adapted many, many Agatha Christie short stories and novels,
and they each had different challenges.
Actually when you deconstructed them,
trying to reconstruct them again
and nail them to the screen, as it were,
was often quite difficult.
[narrator] With this book,
it was impossible to tell the story
the way Agatha had intended.
The TV adaptation with David Suchet
famously really didn't use the plot twist
and kind of actually operated in a more
traditional linear manner.
[narrator] The Murder of Roger Ackroyd
was published by Collins in 1926 to great acclaim.
But the book's central twist was to be mirrored
by an equally sensational twist
in the life of Agatha Christie.
In 1926, Agatha Christie published The Murder of Roger Ackroyd."
The book was hailed as a triumph
and propelled her to superstardom.
But her personal life started to fall apart.
It's always seemed odd to me that
The Murder of Roger Ackroyd
comes out this great triumph in 1926,
because that was the year her life
went so spectacularly wrong.
[narrator] Just after the publication of Roger Ackroyd
Agatha's mother died.
She absolutely worshiped her mother, Clara.
This little woman but with such a force.
She was a perfect mother really.
[narrator] While Agatha was clearing the family house
of her mother's belongings,
her husband Archie turned up with devastating news.
He wanted a divorce.
The sense of betrayal was like a scene
from one of her own novels.
Archie met someone else and...
and things just, you know, fell to pieces.
She must've been desperately low
and so, I mean, Archie couldn't have chosen a worse moment.
[narrator] This was the beginning
of an extraordinary series of events in her personal life
that would develop into one of the most enduring
real-life mystery stories of the 20th century.
On the 3rd of December, 1926,
the then 36 year-old Agatha left her home in Sunningdale
said goodbye to her sleeping daughter
and then drove off into the night.
The next morning, the vehicle was found abandoned
on a hillside close to the Silent Pool, in Shere, Surrey.
Inside was a fur coat and a driving license.
Of Agatha Christie, there was no sign.
[Prichard] I mean the media reaction to this was extraordinary.
In some ways, this catapulted her to another level of fame.
It was a massive story.
Thousands of people went around the country searching for her.
Lakes were dredged, all those kinds of things.
[narrator] After 11 days, Agatha turned up
at a hotel in Harrogate.
She refused to speak about the incident
and was put off doing publicity for the rest of her life.
Now exactly what happened between her leaving Sunningdale
and turning up in Harrogate, no one knows.
It's actually a bigger mystery than any of her books.
Throughout my life I've always hoped
that there is an envelope
that will be passed down through the family
and that one day I will get it.
I suspect there isn't
but I guess my father may have it still. [laughs]
And I may get it one time or my sisters may get it. I don't know.
[narrator] The Murder of Roger Ackroyd
is widely held to be the greatest crime novel of all time.
But Agatha was tiring of Poirot.
She began to look for a new hero
and was inspired by one of the characters
she had created in Roger Ackroyd.
Why, Hercule.
Madame Sheppard.
Isn't it terrible about poor Parker?
[narrator] The character of Caroline Sheppard
was one of the inspirations behind Agatha's new
literary detective,
and she first appeared in her next novel.
It's one of Agatha's most well-known stories
and tells a tale of murder most foul
in another quiet English village.
[Hannah] One thing I love about the novel,
her enjoyment of the story she's telling
leaps off every page.
[narrator] Agatha Christie's new detective
was none other than an elderly spinster,
Miss Marple.
-Nosy. -Suspicious.
Skeptical.
Inquisitive.
Self-effacing.
Just granny-like.
-Fluffy on the outside. -Machiavellian.
This brilliant, brilliant concept of the little old lady
who's got a better brain than the head of Scotland Yard.
[Christie] I just had the idea.
An old spinster lady, living in a village.
The sort of old lady who would have been
rather like some of my grandmother's cronies.
After her life had gone so spectacularly wrong
I think possibly it was a comfort
to recreate the women of her childhood.
[Christie] That she had this in common with my grandmother,
that although a completely careful person,
and she always expected the worst of anyone and everything,
and was, with almost frightening accuracy,
usually proved right.
Nothing goes past you Miss Marple, does it?
Hardly ever.
[Prichard] She obviously was slightly nosy, perhaps a little Agatha,
you know, she noticed what went on around her,
she's constantly popping up from pruning her roses
to notice whoever it is walking past.
She has no life experience,
she's never been married,
she's never had children,
she's never experienced intense emotions
of the kind that lead one to commit murder
but she can recognize them.
[narrator] The book is set in the quaint English village,
of St. Mary Mead.
She never lived in a village, Agatha,
not like St. Mary Mead,
but she knew that life.
The details are very, very good.
[narrator] There is one resident the villagers despise,
Colonel Protheroe.
I expect to see a full set of parish accounts
or I'm gonna take this matter further.
Yes? Is that quite clear?
Everybody loathes him.
He's making enemies left, right, and center.
So he's kinda got an arrow saying "victim"
pointing to his head.
And then, "oh, hello," in the village
there's this kind of glamorous young man painting everybody.
I forgot you were coming.
The usual stuff going on there.
Is he doing Mrs. Protheroe too?
You've also got this beautiful kind of chorus
transposed to the English home counties, of the old ladies.
Ms. Hartnell, Mrs. Price-Ridley, Miss Weatherby, whatever,
they were completely in charge.
The vicar's terrified of them.
[narrator] The Colonel is discovered in his study
shot in the head.
There were some really obvious suspects.
In fact a couple of people who step forward and said, actually I did this.
A very bold piece of misdirection as to the culprit,
but it comes down to a beautiful simplicity in the end.
[narrator] Miss Marple first appeared on screen
32 years after Murder at the Vicarage was first published.
She was played by Margaret Rutherford
and Angela Lansbury on the big screen.
Then in 1984,
the BBC adapted all the original Miss Marple stories,
starring Joan Hickson.
[Bond] Joan Hickson who I thought was wonderful.
Joan wasn't a big enough name to be in the films,
but she did have a letter from Agatha Christie saying,
"you are my perfect idea of Marple."
Oh. You look very shocked vicar. Come and sit down.
I remember watching Joan Hickson thinking, she is so good.
In the 21st century, ITV brought back Miss Marple,
first of all, with Geraldine McEwan, and then with Julia McKenzie.
Geraldine McEwan's is much more broad.
Julia McKenzie goes back to that sort of original idea
that actually she sits around in the background
and really observes and doesn't draw attention to herself.
[narrator] Miss Marple was an instant hit with the public
both in the adaptations and in the original novel.
The post World War I public were comforted
by this unconventional matriarchal detective.
By 1928 Agatha and Archie's divorce was finalized.
She was allowed to keep his surname
but after the scandal of her disappearance
she was constantly hounded by the press.
Agatha left England and headed east, to Baghdad.
She heard about that part of the world
and decided that she'd like to go there.
I think this sums up her kind of adventurous spirit.
It's hard to imagine now, but I think, you know,
I think you should-- is that how brave she must've been
at a time when a woman traveling that far, you know, on her own
would have been very rare.
[narrator] In Iraq,
Agatha discovered a love of archeology.
She returned to Iraq for a second time
and that's when she met a dashing young archaeologist
called Max Mallowan.
They fell in love and as soon as they got back to England
they were married.
Throughout her travels Agatha continued to write.
One book in particular
was influenced by her trips to Baghdad.
It was full of glamor and intrigue
and it would go on to inspire two blockbuster Hollywood movies.
Because instead of traveling by steamship,
Agatha decided to take the train.
[train whistle trumpets]
Agatha Christie's most celebrated work
was published in 1934.
It's set on the exotic Orient Express
the train that Agatha took that connects East to West.
It is the summit of her genius, in many respects the...
again, so hard to discuss it without mentioning the solution.
It has a claim to being Christie's masterpiece.
The solution is one of the cleverest,
if not the cleverest in the whole of mystery fiction.
[Horowitz] Hercule Poirot is called back from Istanbul to England
and has to take a train.
He manages to get a second class ticket on board
the famous Orient Express.
[narrator] The Calais coach on the train
is full of an eclectic bunch of characters
from princesses to traveling salesmen.
Where he meets an American called Mr. Ratchett,
who asks him for his protection.
He's been getting death threats and Poirot turns him down.
He says, "I don't like your face."
And then Ratchett's murdered.
Stabbed.
Multiple, multiple stab wounds.
[narrator] The plot is based on a true story.
In 1932, famous aviator Charles Lindbergh's son
was kidnapped and then murdered.
A tragic story that Agatha Christie
had most certainly read.
And there was also the case
that she found herself on a train,
that due to rain not snow,
was caused to stop for a great deal of time.
So she put those two together to create this masterpiece.
The weather has stopped the train, no one can escape.
There's very much a sense of, like, claustrophobia.
[narrator] In the book, Agatha cleverly traps
her cast of characters in the enclosed environment
of a train carriage.
The detective Hercule Poirot believes
that the murderer is still on the train with us.
It becomes apparent that no single one of the passengers
can possibly have done it
because everyone is alibied by at least one other person.
[narrator] Throughout the story the reader is teased by the terrible kidnap
and murder that happened a couple of years before.
This is a complex case that actually is not as straightforward
as somebody killing just for perhaps financial gain.
And then Poirot unveils this amazing solution
that is the only one that makes it all possible
and yet we just did not see it
and never would have seen it in a million years.
[narrator] The solution sees Poirot facing an interesting dilemma
as the recently murdered, Mr. Ratchett,
was a very unpleasant man.
He deserved to be executed...
-...for what he did... -No, no.
-...and the world knows... -No.
-...it was a travesty that he was not! -No!
How far do human beings have the right to
bring about justice if legal justice has let them down?
Which is a really, really big question
and the whole book turns on that idea.
He puts forward two possible solutions to the crime.
One is an anonymous killer who comes and goes in the night,
and the other is the real killer.
And he allows the police officer to decide
which version he is going to use
so the real killer actually goes free.
[narrator] Murder on the Orient Express has been made into
two big budget feature films.
The most recent of these was directed by Kenneth Branagh
in 2015.
He also starred as none other than Hercule Poirot.
From the minute I saw Kenneth Branagh being Poirot,
I believed in him as Poirot.
[Dr. Aldridge] Physically, a lot of people
were surprised by the mustache
but also I think that people think
of Poirot as being a bit sort of perhaps shorter and stouter
than Kenneth Branagh actually is.
But he showed that you can really rethink and reinvent
the character in different ways.
[narrator] But back in 1974, director Sidney Lumet
was the first to persuade the greatest actors of the day
to jump aboard his epic production.
I think Sidney Lumet did us a huge favor
with Murder on the Orient Express.
He kind of set up that genre
of the all star murder mystery.
[narrator] Sydney Lumet's first major signing was Sean Connery.
[Akpabio] And as soon as he got Sean Connery,
then everybody else kind of said yes, and came.
[narrator] Albert Finney's one and only portrayal of Poirot,
was thought to be closest to Agatha's version,
clever, egotistical, and vain.
My first ever experience of watching a Poirot in anything
was Albert Finney in Murder on the Orient Express
and I remember loving that movie, absolutely loving it.
I think Albert Finney's Poirot was more sort of robust,
he was bigger, he was louder.
[narrator] This was the only big screen adaptation Agatha Christie saw
when she made one of her last public appearances
at the premier in 1974.
She did indicate that she was generally happy with Albert Finney.
[narrator] But Agatha was far from finished
with either her hero or exotic locations.
And her next novel, as celebrated as The Orient Express,
also took Hollywood by storm.
Despite her huge success as a crime novelist
Agatha Christie continued to travel the world.
It was even claimed she became the first Western woman
to stand up on a surfboard.
Back on dry land, Agatha was a regular feature
on her second husband, Max Mallowan's archaeological digs.
Archaeology is something that pops up time and time again.
She felt particularly happy on archaeological digs.
[narrator] It was on a trip to Egypt
that she was inspired to write another Poirot story.
It was a tale of obsession and crimes of passion
set against the stunning backdrop
of the land of the pharaohs.
Death on the Nile is one of Agatha's shortest books
but the exotic setting and well-drawn characters
make it one of her most famous.
Death on the Nile was probably the first Agatha Christie I ever read.
I love Death on the Nile because I grew up with Death on the Nile.
This is as good as it gets in terms of detective fiction.
[narrator] Death on the Nile tells the story
of wealthy American socialite, Linnet Doyle,
who steals and marries her best friend's lover.
They then go on honeymoon to Egypt.
Right over here.
First they're joined by the young man's ex who is obsessed with him.
Linnet.
What a simply divine surprise.
We just can't stop bumping into each other, can we?
Hello, Simon.
But there's something really-- the beating heart of that story,
the love triangle,
that story of betrayal and what you'll do for love
is really powerful.
[narrator] This is another of Agatha's closed mysteries.
This time she traps her characters
on a seemingly tranquil cruise down the Nile.
In the course of this cruise, there is an altercation.
-Ms. De Bellefort! -I'll shoot you like a dog!
-Like the dirty dog you are! -[gunshot]
-Ah! -[screams]
She shoots him in the leg.
And while everybody is crowding round
and a fuss is being made about this event...
Linnet cops it.
[narrator] Fortunately, one of the fellow passengers
is none other than Hercule Poirot.
There are lot of people who've got motives for Linnet
so it's a classic in that way,
but the solution does something different and inventive.
[narrator] Death on the Nile
was first adapted for the big screen in 1978.
Peter Ustinov made the first of six big screen appearances as Poirot.
His portrayal was thought to be more lighthearted and bumbling.
I love the Peter Ustinov Poirot.
It's maybe a bit left-field,
but I absolutely adore him as Poirot.
The Ustinov Poirot is much more sort of gentle,
it's somebody who you'd much rather have
at a dinner party.
And you can see a lot of Peter Ustinov and his sort of--
as famous raconteur, you can see a lot of that in his version of Poirot.
[narrator] Like Murder on the Orient Express,
this film attracted an all-star cast.
Sort of cast to the hilt, we'll get Maggie Smith, we'll throw her in.
We'll get Bette Davis.
So you again, got that very, um...
stellar quality to the whole thing.
[narrator] In 2020 Kenneth Branagh reprised his role
as Poirot in another lavish star-studded production.
We're incredibly excited about the new
feature film version of Death on the Nile.
So we worked closely with Michael Green who adapted the book
and also wrote Murder on the Orient Express.
And Michael is fantastic at taking the story,
actually not changing it very much,
but making it feel really relevant to today.
[Prichard] We have an extraordinary cast.
I mean, obviously you have Ken Branagh as Poirot himself,
but then you've got Gal Gadot, you've got Armie Hammer,
you got Emma Mackey,
you've got all sorts of stars.
You've got Annette Bening.
And the cast is younger
and that leads to a different atmosphere.
I think fans will enjoy it a lot.
[narrator] As the 1930s drew to a close,
war clouds were once again building over Europe.
Agatha, Max, and Rosalind
were living in fashionable Kensington, London.
Agatha continued to write.
Whenever she could, she would escape to her childhood home
of Ashfield, in Torquay, Devon.
It was a place that held fond memories.
[Smith] And much of her childhood was spent,
you know, sort of like, around Ansteys Cove
and Meadfoot Beach doing all the things that children would enjoy doing.
Her childhood was probably the happiest time of her life.
[narrator] Agatha's siblings were much older than her
so she spent most of her early life alone with her mother.
Mother had quite strong Christian science beliefs for a while.
And one of her very strong instructions
was that Agatha must not be taught to read.
She lived in her imagination
and she created worlds and games for herself.
She also famously didn't attend school
and her mother didn't want her to read
until she was seven or eight,
but she secretly taught herself to read
and then kind of I think, spent most of her time self-educating.
[Christie] I never had any education.
Apart from being taught a little arithmetic,
I've had no lessons to speak of at all.
But I found myself making up stories,
and acting the different parts.
[narrator] Her childhood in Ashfield
had laid the foundations for her career as a novelist.
As an adult, Devon continued to spark her imagination,
particularly a hotel she would often visit
further along the coast.
It, in reality, is actually accessible at low tide
you can walk across the beach
but then at high tide it gets cut off.
[narrator] This is Burgh Island
and it was to be the inspiration
for the most successful mystery story of all time.
It's a dark psychological thriller
set on an island from which there's no escape.
[thunder rumbling]
I mean, if I was gonna put my list of three
greatest murder mysteries ever written,
I think it'll almost certainly be on it.
It's an absolutely kind of irresistible formula
and it doesn't feature Poirot,
it doesn't feature Miss Marple,
but it came out of her mind.
[Christie] I wrote the book
but it was so enormously difficult to do.
The idea fascinated.
And it is a very difficult technical accomplishment.
I wrote the book and I was pleased with what I had made of it.
It was clear, straightforward, quite baffling,
yet had a perfectly sound and reasonable explanation.
[narrator] And Then There Were None
is another Christie closed mystery.
It's 1939 and Europe teeters on the brink of war.
Ten strangers are invited to Soldier Island
an isolated rock on the Devon coast.
A group of people who do not know each other,
have all been invited for a sort of a weekend party
by a man called U.N. Owen.
[Man on phonograph] You are charged
with the following indictments.
[Horowitz] And on the first night, a phonograph is played.
[phonograph] Edward George Armstrong, that you murdered
-Louisa May Clees. -Who is this?
And a voice accuses them all of having committed a murder.
They've all killed somebody, so this is payback.
One by one the guests are murdered.
[narrator] With no Poirot and no Marple to help them
the guests try to work out who the killer is.
[breathing heavily] He's dead.
It's this brilliant, brilliant unraveling.
What does seem to be clear
is that there's no one else on the island
so surely the murderer must be one of these ten people.
There is no getting away.
There is no little boat, that's mysteriously disappeared,
so they can't make a getaway to the mainland.
They're killed off one by one,
according to the nursery rhyme that's hung on the wall
of all the bedrooms of these poor souls.
[narrator] This was another first for Agatha,
the use of childish innocence in a dark and sinister way.
This is a trope that's been used
in countless Hollywood blockbusters,
from The Shining to The Exorcist.
It's like a doll in a horror film or something.
It takes the absolute innocence,
the childlike innocence of the nursery rhyme
and utterly subverts it to the cause of murder.
So you get, "One, Two, Buckle My Shoe,"
"Five Little Pigs," "The Mouse Trap," and,
"And Then There Were None."
Seven little soldiers chopping up sticks
one chopped himself in half and then there was six.
[narrator] And Then There Were None
has been adapted more than any other Christie story.
In 2015, Mammoth Screen and the Agatha Christie estate
teamed up to produce a huge scale production for the BBC
to celebrate the 125th anniversary of Agatha's birth.
[Timmer] It was an amazing project to, you know, to start with.
It's been so influential,
so many slasher films have been,
you know, you wouldn't have any number of
Nightmare on Elm Street, Halloween, I think,
without And Then There Were None.
It's her bleakest book,
kind of brilliantly bleak.
It doesn't pull any punches
and it's just a real tour de force.
Agatha Christie was this kind of unassuming, as you see,
a middle-class lady,
she knew about...
extensively about murder,
and you have to wonder how and why. [laughs]
I think she was a dark horse.
[narrator] By 1938, Agatha Christie
was a hugely successful author.
She sold her childhood home of Ashfield
and bought a new property in Devon called Greenway.
And she looked at it from the river one day
and really did declare it, the loveliest place in the world.
It's somewhere where she could very much be Mrs. Mallowan
as well as Agatha Christie,
so without being known as that famous author.
[Thompson] I mean, it's just magical, magical. An enchanted place.
But it was also a place where she could
just withdraw from the world.
[narrator] But her idyllic life at Greenway
was about to come to a jarring halt.
The Second World War began
and the house was requisitioned by the American Navy.
Agatha braved the bombing out in London.
[Prichard] Pretty much no part of London was untouched by bombs.
You must've felt the fear.
It must've been a very strange existence.
[narrator] Despite the constant air raids, Agatha continued to write.
[Christie] I never found any difficulty
writing during the war.
I had written two books during the first years,
this was in anticipation of my being killed in the raids.
It seemed to me in the highest degree, likely.
[narrator] Then in 1942,
she published an Hercule Poirot novel
that was very different and ingeniously clever.
The murder itself happened in the distant past.
[insect buzzing]
Of all Agatha Christie's books
I think it is fair to say that Five Little Pigs
has by far the most memorable murder.
Very few Christie novels have that kind of tunnel-visioned
focused, constrained structure,
so that, even aside from everything else it does,
that makes it a quite unique Christie novel.
[narrator] Although Five Little Pigs
was her 25th Poirot story,
it was not a conventional Christie.
The murder took place 16 years earlier.
So how would the famous detective find his clues?
The murder in question was that of artist Amyas Crale,
whose wife Caroline Crale, was convicted of his murder.
She protested her innocence, but then died in prison.
The daughter, Carla, goes to Hercule Poirot and says,
"I don't think my mother did it."
And my mother was...
-Caroline, Crale. -Caroline.
[narrator] The plot is cleverly constructed
from a series of five interviews
with the prime suspects in the case,
dubbed the five little pigs.
And of course they all have something slightly different to say.
Five very well-drawn characters.
[narrator] When she wrote the book,
Agatha was again doing war work
at the pharmacy at University College Hospital.
Elsa, you should have a sniff.
-Ugh! -[narrator] So her choice
of murder weapon,
the poison coniine is no coincidence.
I've never heard of this.
It's distilled from the flowers of the spotted hemlock.
[narrator] Agatha was writing about what she knew
not only professionally, but also personally.
The location of the story is unmistakable.
[Thompson] She has a murder at what they call "The Battery"
and that's where he dies.
And she describes
you know it from the surround
the way she describes the river and all that kind of thing.
[narrator] The setting was her own home, Greenway.
Christie peppers the story with red herrings and clues.
[Horowitz] And Amyas Crale, almost his last words are,
as he drinks his beer, "everything tastes foul today," he says.
Everything tastes foul today.
And we assume that he's talking about one thing
but actually he's talking about another
and that's one of the tricks in the book
that make it such a pleasure.
Bloody rheumatism.
[Elsa] Then the bell sounded for lunch and Meredith came to fetch me.
So we left him...
to die alone.
[pigeons flying away]
[Caroline] Amyas!
It is a brilliant piece of construction
the way the five different versions of events come together,
and Poirot works out from what was said and what was seen,
and particularly what was on the look on the artist's face
just before he died.
[narrator] Five Little Pigs was published in 1942,
two years later and Europe was at peace again,
but the England of the late 1940s
was a very different place.
Values were changing
and this was reflected in a Miss Marple story
published in 1950.
It's a slightly comical look at a changing country
and it tells the story of an incredibly audacious murder.
A Murder Is Announced is a Miss Marple story
but this time it's not based in St. Mary Mead.
This novel is based in the village of Chipping Cleghorn.
[Timmer] So what I love about A Murder is Announced
is that it's set in a sleepy post-war village
with all these very, kind of, charming village types.
So A Murder Is Announced
starts with an advert in the local paper
saying there will be a murder
in this house, at this time, in this village.
There's going to be a murder.
What time?
Seven o'clock this evening.
Short notice.
So, the reader immediately sees all these villagers
reading the local paper and going,
"Oh, look it says there's going to be a murder
at Little Paddocks."
Listen to this! In the Gazette.
"A murder is announced
and will take place on Friday, October 5th
at Little Paddocks at 7:00 P.M."
Then it cuts to the owner of Little Paddocks
who reacts in much the same way,
"Oh, look, it says there's going to be a murder here at my house."
I guess I better go and see if there's any sherry in the house.
Everybody is terribly interested by this
and so they'll find any excuse so they can to turn up
to see what's gonna actually happen.
Is there going to be a game?
Well. Good evening.
-Good evening. -Good evening.
Evening.
-Good evening, Ms. Blacklock. -Good evening.
This is jolly nice, isn't it?
Here we are.
Indeed. We are.
I just popped in to see whether you might be interested in a kitten.
-A kitten? -[sniggering]
To pretend they've got another reason to turn up.
How are your hens laying?
How's this? How's that?
And then somebody turns up and says,
"Oh, am I too late for the murder?"
Hello Ms. Blacklock?
I'm not too late, am I? When does the murder begin?
It's nicely done. It's amusingly done.
'Cause that is actually just what would happen.
[bell dings]
And it starts like a game, like murder in the dark.
[bell dings]
-[people scream] -It's beginning.
At the appointed time the lights go out.
[Man] Stick 'em up!
Stick 'em up, I tell you!
[Woman] Isn't it wonderful.
[Woman] I must say it's quite impressive so far.
[gunshots fire]
[women screaming]
And someone is found murdered
but not necessarily the person you would expect.
-Good God! -What is it?
[Man] The man's dead!
We have to start to wonder
who has manipulated this scenario?
And surely somebody who turned up to Little Paddocks that evening,
must be our killer.
[narrator] Conveniently,
Miss Marple happens to be staying at the local hotel,
and she joins the investigation.
She knows these people. She knows this setup.
You know Inspector,
some of the best murderers are women,
especially in an English village.
You turn over a stone, you have no idea what will crawl out.
[narrator] The story weaves its way
through a maze of double identity
and trademark Christie red herrings.
It's a great detective story.
I think it's one of the great detective stories
in terms of the plotting.
Every single crucial clue
is absolutely there for you to see
and you do see it, but you don't work it out.
[narrator] As with most of Agatha's novels
the setting of A Murder is Announced
is a reflection of British life at the time she was writing.
[Prichard] It is a really interesting portrayal
of post-Second World War Britain,
some of the hardships, the rationing that was going on,
and people who maybe before the war had a certain
style and standard of living
and suddenly things aren't as easy.
It's a world of rationing and coupons and
immigrants from Europe.
All the old hierarchies are sort of falling apart a bit.
It's... they know a way of life
and they're desperately trying to keep it up
and it's getting more and more difficult.
They're all after the same one cleaning woman.
[narrator] In 1985, the BBC adapted the novel
as part of their first season of Miss Marple stories.
This was Joan Hickson's third appearance
as the amateur detective.
Miss Marple.
I think we called her Miss Hickson. I don't think we called her Joan.
Um, and... or maybe you called her Joan after a while,
but not till you were invited.
And I'd come here pretend to be Julia
and keep peace in the camp.
It was completely awesome.
I mean, the whole thing was awesome.
My parents split up three years after they were married.
They split us up too.
For an English actor, it's a sort of rite of passage
to be in an Agatha Christie.
I feel very honored to have been in them three times
and she just writes such glorious characters.
[narrator] But a new era was approaching,
as the 1960s began, a 70 year old Agatha Christie
found the world changing rapidly around her,
and those changes were a huge influence on her next novel
a supernatural thriller populated by witches and poison.
The dawn of the swinging sixties saw the publication
of a very different type of Agatha Christie novel.
This was a dark thriller
set against a backdrop of witchcraft in an English village
and in fashionable London.
I think The Pale Horse" has a different tone.
The setting and the locations in the book are different.
It's set in London.
And it's set in 1960s London
and it's got a real feeling of modernity.
It's not a classic detective novel.
And for a lot of her life
Christie had an interest in the supernatural.
And this is the book where the supernatural
meets murder mystery.
[narrator] The Pale Horse is a Christie novel
with no Marple and no Poirot.
Instead it tells the story of historian Mark Easterbrook
who gets drawn into a supernatural world
in the strange village of Much Deeping.
Do you want your fortune told?
It starts out feeling like
the atmosphere is so, kind of, spooky and ghostly
and there's all this, you know, magic and supernatural allusions.
[narrator] The village is full of unusual goings on
that Mark has to unravel.
His name is on a list of people
most of whom have already been killed.
Do you know anyone on this list?
Ormerod, Sandford, Hesketh-Dubois,
Shaw, Tuckerton.
Ardingley.
Mark becomes embroiled in trying to figure out
what this list means,
who these people are,
what the connection is between these people.
[narrator] The names on the list lead Mark Easterbrook
to three witches.
They are somehow connected to this list
but we're not quite sure how.
What do you want?
I want you to set me free.
I played Thyrza Grey and she is one of the three witches.
She's very good at, sort of, mind reading.
What we do is read cards and tea leaves.
What if that's we all can do?
The main kind of suspects are the witches
because of their links to the supernatural.
And that is something that naturally brings about
a sense of fear in people.
[narrator] The Pale Horse was first adapted for TV
in 1996, and again, in 2010.
This second adaptation was markedly different from the novel
as it added Miss Marple, played by Julia McKenzie, to the story.
Then in 2019, screenwriter Sarah Phelps adapted the novel
into a two-part series.
This adaptation also changed
much of Christie's original plot.
[car engine roaring]
I think it says something about the strength
of Agatha Christie's novels
that something like Pale Horse
has been adapted three times.
Those adaptations are all very different from each other.
Sarah was actually...
She took some liberties and made some changes.
And I think it's kind of a fantastic example
of how Christie stories can be adapted
and work for-- in different ways at different times.
[narrator] But not all of Christie's fans agreed.
[Atim] There's definitely a mixed response.
And there's always gonna be with things like this.
That upsets a lot of people
because that's what they've come to know, you know?
And that's what they've come to love.
But there's also gonna be a group of people
who are huge fans, who are excited to see
what else can be pulled out of these classics.
I think there is an argument to be had
that by taking her original stories
and be making them more pertinent to a modern audience is a good thing.
[narrator] London at the dawn of the swinging sixties
features strongly in the novel.
It was a world that Agatha was gradually coming to terms with.
[Prichard] And you can see the times that she's writing in,
but you can also see how she's, um... you know, how she's aging,
and you can see her kind of tut-tutting in the background
as young women are walking down the King's Road in short skirts
and behaving in ways that I think she probably thought were pretty scandalous.
And I think that's a nice side of her that comes through.
Goodbye, Mark.
Don't ever come here again.
[narrator] By 1975, Agatha Christie had been a published author
for 55 years.
Hercule Poirot was still her most popular creation by far.
But during the Second World War,
Agatha was convinced that she wouldn't survive the bombing.
She was so concerned
that she had written Poirot's final case, entitled Curtain,
and locked it away in a bank vault
to only be released after her death.
What actually happened in the mid 1970s
was that it became clear that Agatha Christie,
who was in her eighties by this point,
was not gonna be well enough
to write another Hercule Poirot novel,
and she wasn't particularly interested in doing it.
And so her daughter, Rosalind,
actually broached the subject and said,
perhaps you want to think about publishing Curtain.
And so with her mother's permission,
they dug out the typescript
and it was published at the end of 1975.
[narrator] Curtain was to be Poirot's most surprising
and controversial of cases.
The murder is without a doubt
the most shocking of Agatha's career.
It's quite difficult to talk about Curtain
without giving away the ending.
I mean, it famously is known that Poirot dies in Curtain.
It is a brilliant novel.
It's not one of my personal favorites.
I think that is purely because of Poirot dying.
I'm not gonna have a favorite Poirot novel
in which Poirot dies.
Not on my watch.
[narrator] Curtain is set where it all began,
at the country house of Styles.
But it's a Styles that has changed over the years.
[Thompson] Styles is no longer the lovely country house.
It's being run as a kind of boarding house.
It's a very sad place.
There's someone to see you.
[narrator] Poirot is convalescing at Styles,
only he's old and frail.
In Curtain, Poirot is very much reduced as a character.
He's in a wheelchair, he's shrunken,
he's very, very old-seeming.
It's a very frail Poirot who we witness
in this final adaptation.
It's somebody that is a real sort of gut punch
to those of us who've known him for nearly 25 years at this point.
Hastings?
Oh, Hastings. My dear, dear, Hastings.
Poirot, old chap.
Oh, mon ami, mon ami.
What Agatha does is she brings back Hastings
which is absolutely the right thing to do
because Hastings in this book
is a really, really good character.
And how are you?
Me? I am a wreck!
No. A ruin.
Hastings has been in Argentina with his wife
comes back from there a widower.
And so you see the affection between the two
and the respect.
[narrator] The plot is loosely based
on Shakespeare's Othello,
where the character of Iago has a devilish knack
of manipulating people to commit a murder.
Agatha Christie uses Shakespeare a great deal in her work.
She's always referencing Shakespeare in one way or another.
And this book without giving anything away
references Othello but in an extremely clever way.
[narrator] Like Five Little Pigs,
the various murders in Curtain
all took place in the past, except one.
And this is the most shocking.
It's a highly unusual one,
I mean, it's a really interesting reason to kill somebody.
You might even say a good reason to kill someone.
And of course, that's bound in with the identity of the killer.
And it comes-- the book ends with a really extraordinary twist.
You feel that Agatha Christie has managed to achieve
every single twist that is possible
in the course of her long career,
but with Curtain she finds a new one.
[exhales] The poison works.
And must be stopped.
[narrator] Curtain was also the very last episode of ITV's Poirot.
It ran for an incredible 13 series and 70 episodes.
It was very moving to be part of because--
partly because it was the end of a very long series, a very long commitment.
[narrator] For actor David Suchet,
this was the last in a long line of TV dramas.
[man] How are you, old chap?
[narrator] Playing the Belgian super sleuth.
Not dead yet.
[Fraser] I remember the last scenes that we played
where I would be sitting at his bedside talking,
were very moving and quite difficult to do in actual fact,
because it became quite emotional.
It was such an amazing achievement for David
and we were so happy for him to complete it.
Uh, it was-- So was a bittersweet thing.
It was sad.
[narrator] In 1975, just after Curtain was published,
the New York Times ran a front page obituary for Poirot,
the first one ever for a fictional character.
On the 12th of January 1976,
just four months after Curtain was published,
Dame Agatha Christie died peacefully at home
in Wallingford, in Oxfordshire.
Her incredible career spanned 56 years.
And so far, she has sold over 2 billion books.
She is the most successful novelist of all time.
I think the relationship between Agatha Christie
and her audience is second to none,
and it's one of the reasons why she has survived so well.
In ways of navigating our way through the 20th century,
I think Agatha Christie is actually really important.
She chronicles our lives with wit and murder
in this very... in this very accessible way,
but it's a real kind of chronicle of Englishness.
Christie's top priority is telling you
a gripping and entertaining story.
I think she would have been amazed
that we're talking about her 100 years on.
She's not gonna die out
like the other golden age detective writers
because she's simply better.
The more I learn about her, the more I read her
actually, the more admiration I have,
and actually then the more pride I have.
We continue to talk about her,
we continue to make stuff about her,
we continue to make her books
and, uh, and I think we will do that,
we will always do that.
[narrator] Agatha Christie will continue to inspire
those who read her books and watch her adaptations
around the world.
Her legacy will live on in countless versions
of discerning crime fiction.
Her enduring appeal has been resolute over a century
and undoubtedly the queen of crime will challenge
and provoke us for at least another century to come.