BEING POIROT

UK, 2013, 48 minutes, Colour.
David Suchet
Directed by Chris Malone.

This is an essential documentary for the millions of fans of the television series of Agatha Christie’s Poirot. The first film was made in 1989 when David Suchet was 43. While he filmed Poirot’s death in Curtain before the final production which was Dead Man’s Folly, 2013, at the time of his final appearance, David Suchet was 67.

He is now the host of this documentary, made when he was filming Curtain as well as Dead Man’s Folly.

What makes it essential is the portrait of Suchet as Poirot. Before making the series, which comprises 70 films, short stories as well as novels, he read each story many times, making notes as to Poirot’s character, mannerisms, tics, his Belgian origins, his past success as a detective there, his moving to England as a post-World War I refugee. He then discovered Agatha’s Christie’s description of Poirot’s walk and that consolidated his character, even raising his voice to a higher pitch for Poirot’s speech.

One of the attractions of the film is Suchet’s meeting with various people involved in the production, an interesting discussion with composer Christopher Gunning, Gunning submitting for melodies to the producer, liking the one that was chosen least, but explaining to Suchet how he transposed the light melody to a minor tone and that became the musical hallmark. Suchet also has conversations with his chauffeur, with those doing his make up, with the producer of the films, Brian Eastman.

There is also a visit to Belgium, to the alleged home town of Poirot, seeing his birth certificate (born on April 1!), meeting the Mayor and chief of police of Brussels.

There are many excerpts from the films to illustrate his character, eccentricities, the humour, and Suchet’s tribute to Hugh Fraser, Philip Jackson, Pauline Moran. There is a discussion with Agatha Christie’s grandson, with a historian of the novels, and a look at some of Agatha Christie’s manuscripts – and her referring to him as bombastic, detestable, tiresome and wondering why she ever invented him!

David Suchet pays homage to Charles Laughton who was the first to be Poirot on stage. Then to a 30s film version. He is strong in praise of both Albert Finney and Peter Ustinov for their interpretations. He speaks of the pressure in filming Murder on the Orient Express, deciding to go on a trip on the train, renewing old acquaintances, and his reflections on the issue of letting the murderers leave or hand them over to justice.

It is in this context that he speaks of Agatha Christie’s making Poirot a Belgian, therefore a Catholic, sequences in church, of his faith, praying the rosary, his sense of justice. He goes back to the short film, The Chocolate Box and Poirot’s infatuation with the character, Virginie, and his wearing her emblem throughout his career, Suchet remarks that he was more connected with his head rather than with his heart

There is quite some discussion about the making of Curtain, going to Agatha Christie’s home which became the manor at Styles, the filming of Poirot’s death. However, his final shooting was in Devon at Agatha Christie’s other home, a celebration of the end of a quarter of a century of filming, and emotional atmosphere, Poirot standing at the door of the mansion, then celebratory photos


As has been said, and a further recommendation, this short film should be seen by all those who have enjoyed the Poirot films and David Suchet as the embodiment of Poirot.