THE LABOURS OF HERCULES
UK, 2013, 90 minutes, Colour.
David Suchet, Rupert Evans, Eleanor Tomlinson, Simon Callow, Tom Austen, Fiona O' Shaughnessy, Morven Christie, Sandy Mc Dade, Orla Brady, Nigel Lindsay.
Directed by Andy Wilson.
The Labours of Hercules is the second last production of the television series, ranging from 1989 to 2013, with David Suchet as Poirot. He was 43 when he began the series, 66 when it concluded. He is more than a touch older now, with many regrets.
The original book had 12 short stories relating to the 12 labours of Hercules, focusing on each of the characters. The screenplay brings them all together, a murder mystery, an art thief, a chalet in the Swiss Alps.
Rupert Evans is an earnest young hero. Eleanor Tomlinson is very striking – especially at the end and the revelations. Orla Brady plays the Countess, her mother, the same Countess who had charmed Poirot in the film, Double Clue. Simon Callow is his usual screen presence as the doctor.
All the suspects are cut off by an avalanche and there is another murder. However, Poirot notices many details, gets the manager, Francesco (Nigel Lindsay) to get various pieces of property from the rooms and, revealing them and their meanings, centres on the unexpected revelation of the murderer and thief.
1. The popularity of Agatha Christie mysteries? The adaptations for the television series? This as the second last in the series? David Suchet as Poirot?
2. The original book, the labours of Hercules, the 12 chapters, the focus on particular characters? Combining them in the one screenplay?
3. The London settings, the reception, lavish? The police presence? Anticipation of the thief? The murder? Poirot reassuring the victim? Her death and the robbery? His sense of guilt, depression? Going to the psychiatrist? Urged to take on a new case?
4. Poirot and the driver, his melancholy about the death of his girlfriend? Poirot’s reassurance?
5. Poirot going to Switzerland, the mountains, the funicular, the hotel, exteriors and interiors, lavish? Reception? The rooms? The musical score?
6. The police? Expectations of the thief to arrive? The police on the staff? Francesco, his warm welcome, management, jovial, taking bribes? The other members of his staff?
7. The guests arriving, Mrs Rice, haughty, her daughter, the abusive husband? The cries during the night? The superiority of Mrs Rice and her dealing with people? The contrast with the Countess, memories of her encounter with Poirot, the romantic memories? The presence of her daughter? Alice, the English name, studying crime and investigation, the challenges to Poirot?
8. The dancer, in England, the health, breakdown, going to Switzerland, the doctor caring for her? His orders? Her staying in her room? The interview with Poirot? Her coming down to the dining room?
9. The insurance salesman, undercover police? His role in the investigations?
10. Alice, her being assaulted in her room?
11. Gustaf, mysterious, Robert found hanged, Gustaf not revealing the master, claiming to be the thief? His death?
12. Poirot getting Francesco to collect passports, writing cases, other material from the rooms?
13. Harold, his presence at the reception, sent overseas by the Foreign Minister? His presence in Switzerland, at the hotel, allegedly in disgrace because of an illegitimate child (and the revelation that the child was that of the Minister)? The attraction to Mrs Clayton? Coming her to her defence? Her leading him on? The disapproval of Mrs Rice? The revelation of the truth, con women? Harold hiding them in his room?
14. The assembly, Poirot’s criticism of all present, Francesco and the bribes, the Countess and her stealing Mrs Rice’s approach, the two women and their confidence tricks and fraud, the dancer, the bogus status of the doctor? But urging Harold to heroism?
15. The revelation, the Countess and her daughter, the thief, the taking of the paintings of the labours of Hercules, disguising them at the hotel, the doctor and his work as a fence?
16. The confrontation, the guns, the police, the gun in Alice’s mother’s bag? Her ultimate defiance?
17. The truth about the dancer, in love with the chauffeur, the disguises, leaving, the return – and Poirot reuniting them, and atoning for his sense of guilt?
