Agatha Christie’s Poirot: The Jewel Robbery at the Grand Metropolitan (1993) (Season 5, episode 8) first appeared as a short story under the title, “The Curious Disappearance of the Opalsen Pearls” in 1923 and, by any standards, it’s a fairly slight case. Hercule Poirot (David Suchet) and Captain Hastings (Hugh Fraser) are staying at the Grand Metropolitan in Brighton where they meet the Opalsens. He made his money in oil and she spends his money collecting jewellery. When she tries to show off her latest acquisition, a necklace, they discover it has been stolen. It seems one of the maids is responsible but, quick as a flash, the great Hercule Poirot unmasks the real villains.
Now we come to the adaptation by Anthony Horowitz which takes this thin gruel and spins it into a delightful period piece. This time, the location and props departments have outdone themselves in transporting “Brighton” back in time — it’s actually Eastbourne standing in for its more celebrated cousin, but we can gloss over this inconvenient fact. It’s quite wonderful to see the streets so full of period vehicles, the costumes are magnificent and the use of locations superb. So now to the new story. According to the doctor called to examine our great detective, he’s been working too hard and therefore must be despatched to Brighton to take the sea air. This will dispel the sore throat and sniffles, and generally restore the little grey cells to their usual vigour. With relief, Miss Lemon (Paula Moran) waves him off. We’re then introduced to a nice running joke for, as Hercule Poirot leaves what’s supposed to be Brighton railway station, he’s immediately accused of being Lucky Len and the reward claimed. For those of you not of an advanced age, newspapers used to promote themselves by sending out reasonably distinctive people and, if a person holding the newspaper correctly challenged them using specified words, they could claim a reward. Needless to say, wherever Poirot goes, he’s immediately challenged. We get a sight of the actual Lucky Len at the end of the show.
Life at any seaside resort would not be complete without a “theatrical” experience or two and Brighton was, and is, no exception to this rule. The Theatre Royal and Pavilion Theatre have been beautifully preserved. This adaptation has Mr Opalsen (Trevor Cooper) as a theatrical impresario with his wife, Margaret (Sorcha Cusack) the leading lady. To maximise the publicity for his latest play, Mr Opalsen has purchased a famous set of pearls. We meet the playwright, Andrew Hall (Simon Shepherd) who’s having problems in clearing his gambling debts, the companion Celestine (Hermione Norris) and Saunders (Karl Johnson), the driver. The padding is spectacularly brave with Hercule Poirot seeing Mr Worthing book into the hotel, then realising the solution to the robbery lies in The Importance of Being Ernest, and finally framing Mr Opalsen for fraud, in part as payback for exploiting his name to get additional publicity for the play. Miss Lemon also gets back into the action, this time talking to London fences about jewellery.
Quite frankly, the audacity of it all is remarkable and the results are wonderful. This is completely in character and, although I disapprove of the romantic ending (which would be doomed to failure given Andrew Hall’s gambling addiction), this is yet another successful adaptation cum dramatic expansion of a short story to add to the others in this series. The only fly in all this ointment is the likely legal consequences. Mr Opalsen has been wrongly accused and arrested for fraud. This would give him actions in tort for false arrest and false imprisonment against the police. More excitingly, he could sue Hercule Poirot and bankrupt him in libel for, no matter that impresarios live and die by publicity, an accusation of fraud just before his theatre company is about to take off for a tour of America is hardly likely to bring in the audiences. Counterbalancing this defamation is the return of the pearls so audiences might come to see them, worn six nights per week and one matinée by the leading lady. The only other comment I would make is as to the box in which the pearls were stored. It actually looked no more substantial than something you could buy at Woolworths and the key itself was so small with one simple lever that anyone with a hair grip could open it in five seconds. It was not a secure box and, worse, kept in an unlocked drawer. That said, since it was under “guard” most of the time, the screams of Celestine would alert all those around her to the presence of a robber with a gun in the hotel bedroom. Well, I did say the adaptation of The Jewel Robbery at the Grand Metropolitan was audacious. Perhaps entertainingly foolhardy would have been a better choice of words.
For reviews of other Agatha Christie stories and novels, see:
Agatha Christie’s Marple (2004) — the first three episodes
Agatha Christie’s Marple (2005) — the second set of three episodes
Agatha Christie’s Marple (2006) — the third set of three episodes
Agatha Christie’s Marple (2007) — the final set of three episodes
Agatha Christie’s Marple: A Pocket Full of Rye (2008)
Agatha Christie’s Marple: Murder is Easy (2009)
Agatha Christie’s Marple: They Do It with Mirrors (2009)
Agatha Christie’s Marple: Why Didn’t They Ask Evans? (2009)
Agatha Christie’s Marple: The Secret of Chimneys (2010)
Agatha Christie’s Poirot: The Adventure of the Egyptian Tomb (1993)
Agatha Christie’s Poirot: The Adventure of the Italian Nobleman (1993)
Agatha Christie’s Poirot: The Case of the Missing Will (1993)
Agatha Christie’s Poirot: The Chocolate Box (1993)
Agatha Christie’s Poirot: The Clocks (2009)
Agatha Christie’s Poirot: Hallowe’en Party (2010)
Agatha Christie’s Poirot: Murder on the Orient Express (2010)
Agatha Christie’s Poirot: Three Act Tragedy (2011)
Agatha Christie’s Poirot: Underdog (1993)
Agatha Christie’s Poirot: The Yellow Iris (1993)