After spending much of 2013 watching oh, so many Agatha Christie adaptations, I decided to put together a list of all her novels and short story collections, and whether and when they have been adapted for film. I’ll attempt to keep this updated as new information comes to mind, particularly since it appears that 2017 will be the start of yet another new era of adaptations for the Queen of Crime. See below:

(list updated – September 2016)

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Well, it’s been an interesting couple of years since I completed my initial project for this blog: one in which both Marple and Poirot finished their runs on ITV, and Hercule Poirot has returned for two new mystery novels by Sophie Hannah. Now, in the 100th anniversary of Dame Agatha’s first novel, The Mysterious Affair at Styles, it seems as if we’re on the cusp of a Christie Renaissance.

2015 saw two new works I’ve not yet renewed: a controversial BBC adaptation of And Then There Were None, and a six-part adaptation of two Tommy and Tuppence novels, Partners iN Crime. And Hannah’s two novels – The Monogram Murders and Closed Casket – have helped thrust the Golden Age of Crime Fiction back into the spotlight. (I intend to review the latter of those novels sooner or later.) From France to Japan, non-English language versions of the Dame’s works seem to be growing more and more prolific.

2016 has been something of a drought, but news from the BBC and Hollywood suggests that we won’t have to wait much longer:

  • Kenneth Branagh has decided (for better or worse) to adapt a new, all-star version of that Poirot classic, Murder on the Orient Express. The project is currently scheduled for November 2017, although Hollywood always has other plans. How will Branagh’s typically luxurious style compare to the oddball 2001 TV movie update? I’m intrigued, to say the least.
  • Already adapted in the ’50s with Marlene Dietrich, and again in the ’80s with Dame Diana Rigg, Christie’s classic and successful play Witness for the Prosecution is now receiving not one but two adaptations. The first, a two-part BBC telemovie starring Kim Cattrall and Toby Jones, will premiere in – we assume – early 2017. The second is a thus-far vague Hollywood adaptation by Ben Affleck.
  • As if that wasn’t enough, Julian Fellowes – of Downton Abbey fame – has written an adaptation of one of my favourite Christie novels, Crooked House, which has never before been filmed. With an announced (although not necessarily confirmed) cast including Gillian Anderson, Glenn Close, Christina Hendricks, and Terence Stamp, this project sounds particularly exciting. It is due for release in 2017, all things going well.
  • Meanwhile, with the BBC having reclaimed all of Dame Christie’s rights from ITV (which almost definitely puts the final nail in Marple’s coffin after 6 delightful years), seven new adaptations have been announced. Details are not known for most of them but we have 3 titles: The ABC Murders (whether they’ll retain Poirot or sub him out, in light of David Suchet‘s still powerful aftertaste, who knows); Ordeal by Innocence (which was among the last of the Christie films during her last big-screen era in the ’80s, and which had a patchy adaptation by Geraldine McEwan’s Marple); and the never-before-filmed Death Comes as the End, set in Ancient Egypt and one of my Christie guilty pleasures.

The number of Christie novels never adapted is now quite few: the spy novels They Came to Baghdad, Destination Unknown and Passenger to Frankfurt (all of which, I think, could be salvaged into spy films), and the final Tommy and Tuppence work, the forgettable Postern of Fate. Beyond this, many short stories remain untold, so there’s plenty of material there for the Beeb to work with.

With all of this news, we can only hope that the BBC allows for versatility in its directors, and a respect for the text. My own mixed feelings about the recent And Then There Were None aside, this could be a great chance to bring new readers to Christie’s works as her legacy enters its second century.

This post contains detailed spoilers for Sophie Hannah’s Poirot novel, The Monogram Murders. If you haven’t read the book, stay away. If you have read it, prepare to have your eyes opened. And, if you are Sophie Hannah, I apologise!

I very much enjoyed The Monogram Murders, the new Hercule Poirot book written by Sophie Hannah and authorised by the Christie estate. Indeed, I started the book at 8PM on Christmas Eve, and finished it, bleary-eyed, as Santa Claus was sneaking down the chimney. While I found the denouement satisfying (if slightly outlandish), there was one clue that caught me earlier on which didn’t seem satisfactorily explained. I now suggest to you, ladies and gentlemen, that Hercule Poirot did not adequately solve the case, either out of lack of information, or possibly – just possibly – compassion. I might be crazy, but the circumstances of these murders are already quite odd, so what’s a little more craziness?

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The Monogram Murders

This review of “The Monogram Murders” does not contain spoilers for plot information. If you’ve read the book, however, do check out my insane theory on the story’s real killer.

After four decades, that most delightful of detectives makes his return to the printed page. The Christie estate authorised his return in Sophie Hannah’s The Monogram Murders and I think it was worth the wait.
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Welcome back, Christie fans, as we revisit Julia McKenzie‘s most recent outing as Jane Marple.

“Some are born to sweet delight,

some are born to endless night.”

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It’s odd, really, given Dame Christie’s prominence and crossover popularity, that she hasn’t been more commonly filmed – at least on TV, if not the silver screen. Indeed, the late ’80s primarily saw her being adapted by the Americans (in updated versions of Murder is Easy and The Man in the Brown Suit) while the ’90s were given over almost exclusively to the Poirot and Marple series. The only modern British TV movie I’ve been able to track down and review until now was 2003’s Sparkling CyanideI would’ve thought that the novels would’ve been regular fodder for young writers armed with an ITV contract and two weeks’ filming time, but I suppose the Christie estate has other opinions. (And, it must be said, TV movies have a habit of updating the action to present-day, which is perfectly fine but might be challenging for some of Christie’s more class-conscious novels, and sometimes leads to the trashy feeling of the footballers and their wives in Sparkling Cyanide.) Today, however, I’m looking at that rare breed: a period TV film, adapted from a Christie novel, originally airing in the ’90s. Let’s take a look.

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A remarkably faithful adaptation brings David Suchet’s reign as Hercule Poirot to an end after almost 25 years (24 years and 10 months, to be precise!). This is far from the end of Agatha Christie on screen, but it certainly feels like a sad, sad day.

“Shots in the dark, Poirot. Shots in the dark.”

— Stephen Norton

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As the nights draw in, Hercule Poirot is back – for the penultimate time – in yet another fascinating take on a Christie book.

(I’m having a little problem with my screenshots at the moment, so please forgive the text-heavy review…)

“Better not to be a detective at all than a detective who has failed.”

— Hercule Poirot

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