Posts Tagged ‘Eleanor Tomlinson’

Agatha Christie’s Poirot: The Labours of Hercules (2013)

December 4, 2013 Leave a comment

In Agatha Christie’s Poirot: The Labours of Hercules (2013) (Season 13, episode 4) we find Hercule Poirot (David Suchet) depressed. He laid a trap for Marrascaud, the notorious thief and murderer. When the dust settled, the painting was stolen and the young woman who was bait wearing the jewelled necklace, was murdered. With a reassuring smile, he had promised the nervous young woman she would be safe. Her death is on his conscience and produces psychosomatic symptoms. He’s therefore driven to part with ten guineas for medical advice which is uncompromising. “Either get another case which puts your life in danger or give up the profession. You’ve had a good run. Yes, you’ve paid the price of not having a wife and children, but you’ve more than compensated in the good you’ve done. Go away! Better still, go on a holiday.” or words to that effect.

Leaving the doctor’s expensive surroundings, the agency car is waiting to drive him home. When he leaves it to Williams to drive him wherever he wants, the man breaks down and tells him a story of lost love. Overcome with quixotic romanticism, Poirot says he will travel to Switzerland to recover the young maid who has been so cruelly whisked away by a thoughtless mistress. As he waits for the funicular to take the guests up to the Hotel Olympus, the police warn him that Marrascaud is thought to be on his way to the hotel. It’s rumored the thief has stashed the loot in this retreat. For this to be one of the true labours of Hercules, our great detective must confront the greatest criminal Europe has seen for years. Indeed, in psychological (and mythical) terms, he’s the only one who can defeat this thief and murderer. Perhaps a Freudian psychologist should name a complex after Hercule to describe a man who sacrifices family and friendship in pursuit of one goal after another. For these purposes, it would not matter what the nature of each goal. It’s simply an obsession never to be beaten at whatever is attempted, no matter what the price to be paid in social terms. Obviously there have to be some boundaries in this pursuit. There are laws to be obeyed, the dictates of conscience to be observed. That Poirot himself may end up looking vain and smug when he succeeds despite these limitations, is just one element of the price to be paid.

The cast assembles for dinner

The cast assembles for dinner

Looking at this episode with a dispassionate eye, I think the script by Guy Andrews bites off more than it can comfortably chew for a single episode. As a collection of twelve unconnected short stories, it’s clever to be able to rework three of them together, “The Erymanthian Boar”, “The Arcadian Deer” and “The Stymphalean Birds” with lesser elements from “The Girdle of Hippolyta” and “The Capture of Cerberus”. But what starts well, increasingly lacks coherence as we work through to the end. The problem is structural. All our initial attention is focused on the malevolent Marrascaud as “The Erymanthian Boar”. “The Arcadian Deer” is grafted on as an improbable motive for Poirot to travel to this particular resort. The fact our master criminal has picked the same resort is a horrendous coincidence compounded by the presence of Harold Waring (Rupert Evans) whom we also meet in the set-up. He’s an awfully nice young man who works for the Foreign Office. When his boss gets into a little bit of bother, our innocent agrees to take the heat. So simply because the script needs a victim, he falls prey to “The Stymphalean Birds” scam, i.e. this element feels like padding to fill in time while we wait for Poirot to identify Marrascaud and recover the loot.

As to the Swiss resort, somewhat remarkably, the interiors and terrace scenes were shot in Halton House, Halton, Wendover, Buckinghamshire. Stock shots of the funicular at Saint Hilaire du Touvet were added where necessary with green screen work to create the illusion of snow-capped mountains in Switzerland. In the best Mousetrap tradition, all guests and staff are cut off from the outside world by an avalanche. This leave us with Katrina Samoushenka (Fiona O’Shaughnessy) under the care of Dr. Lutz (Simon Callow). Alice Cunningham (Eleanor Tomlinson) is revealed as the daughter of Countess Rossakoff (Orla Brady) which reignites old memories in our hero. Had they become lovers, Alice could have been Poirot’s child. Thematically we’re into the realm of redemption and the extent to which love should influence our decision-making. When he was young, Poirot let the young Countess Rossakoff go. He spared her not because he was her lover, but just because he was Poirot. It was the sense of what might have been had they not been set into their roles — there’s a nice touch with the cuff links at the end.

In this story, the unsophisticated and love-lorn driver stands in for the young Poirot. The driver’s naive loyalty and trust is rewarded once the couple overcomes the limitations of their social status and roles in life. We’ve seen an older overconfident Poirot fail to keep his promise to a young woman. Hence, even though he catches the villainous Marrascaud, it doesn’t make him feel any better. At its best, the arrest is nothing more than revenge. Fortunately, the world-weary Poirot finds a balm for his depression in the romantic love of these youngsters. This leaves us his final discussion with Countess Rossakoff. She asks him for one more favour. For a few seconds, he’s tempted. Had he chosen differently all those years ago, they might have shared a great love. Then his little grey cells reassert themselves. He sacrificed romantic love and the sentimentality that can go with it so he could become a better detective and, by his standards, a more honourable man. Once he might have redeemed her. Now she’s a career criminal and cannot avoid arrest this time. In a sense this makes a very appropriate penultimate story to Curtain. Here Poirot has all the evidence needed and let’s the law take its course. In Curtain, he confronts the limitation of his role if he’s forced to acquire sufficient evidence to gain a conviction in court. So what here begins with failure in brightly lit London opulence, explores options in a rather dark and sombre hotel, somewhat in need of refurbishment, and ends in bright sunshine back in London. There’s a different and altogether darker ending in Curtain.

Putting this together, The Labours of Hercules slowly runs out of steam as the plot limitations are exposed, but it succeeds rather admirably as a vehicle for exploring Hercule Poirot’s strengths and weaknesses as a human being. In metaphorical terms, the Swiss hotel that has seen better days captures the now fading grandeur of the detective whose pride went before his fall.

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: The Blue Geranium (2010)
Agatha Christie’s Marple: A Caribbean Mystery (2013)
Agatha Christie’s Marple: Endless Night (2013)
Agatha Christie’s Marple: Greenshaw’s Folly (2013)
Agatha Christie’s Marple: The Mirror Crack’d from Side to Side (2010)
Agatha Christie’s Marple: Murder is Easy (2009)
Agatha Christie’s Marple: The Pale Horse (2010)
Agatha Christie’s Marple: A Pocket Full of Rye (2008)
Agatha Christie’s Marple: The Secret of Chimneys (2010)
Agatha Christie’s Marple: They Do It with Mirrors (2009)
Agatha Christie’s Marple: Why Didn’t They Ask Evans? (2009)
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 Big Four (2013)
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: Curtain. Poirot’s Last Case (2013)
Agatha Christie’s Poirot: Dead Man’s Folly (2013)
Agatha Christie’s Poirot: Dead Man’s Mirror (1993)
Agatha Christie’s Poirot: Elephants Can Remember (2013)
Agatha Christie’s Poirot: Hallowe’en Party (2010)
Agatha Christie’s Poirot: The Jewel Robbery at the Grand Metropolitan (1993)
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)

Jack The Giant Slayer (2013)

Jack the Giant Slayer

When the lights go down and the digestive juices are eagerly expecting creative sustenance, Jack The Giant Slayer (2013) immediately tells you this is an impressive and exciting film by a piece of over-the-top-bombastic music that can’t possibly be sustained. If it was going to be this deafening, sorry exciting, for the next 114 minutes, our ears be worn down to the quick and that would never do. We would lack the strength to rise from our seats and go eat some monster nibbles at the nearest fast-food outlet? So the volume, pace and tempo must drop, and then duck in and out of gentle storytelling mode. So here comes the set-up. Young Jack and Princess Isabel sit in their respective low-born and high mucky-muck beds while their parents tell the story of how monks first attempted to grow the bridge between Heaven and Earth, but instead opened the door for the giants to come down the beanstalk and start eating us. Now there you have it. Hubris! It always gets people into trouble, particularly when they start deluding themselves into believing there’s a shortcut to Heaven. The moral so far is don’t go down to the woods today because giants are holding a finger-food event.

Ewan McGregor, Eleanor Tomlinson and Nicholas Hoult

Ewan McGregor, Eleanor Tomlinson and Nicholas Hoult

We then get one of these nice fairy story ideas that would require explanation in any other context. Needing a way to control the giants, the humans kill a giant (no mean feat), extract its heart (not so difficult once deceased) and then melt it down to make a crown for the king to wear (hmmm — giants have metallic hearts and, as an aside having no significance whatsoever, the tract for food to pass down into their stomachs is full of water and not an acid or enzymes or anything else that might consume input as food). Consequently (sic) when the king wears the crown, he can control the giants and tell them to climb back up the beanstalk. Once the last one has climbed back up, they (probably the humans working from the bottom up) cut down the beanstalk and promptly relegate all the factual aspects of the invasion to myth (in rhyme so it can be told to children). So that’s all right then. All done and dusted, as these British types say.

Ten years later (wow, time sure does pass fast in these tales), Jack (Nicholas Hoult), the daydreamer, is sent off to market to sell the horse and cart, but is distracted by a pantomime version of the fairy story and the now beautiful Isabel (Eleanor Tomlinson). Of course we have the usual palace conspiracies for Roderick (Stanley Tucci) to marry Isabel and rule the world (which plans have already led to raiding the old King’s tomb and extracting both the fatal seeds and the magic crown). Why is it, I wonder, that villains are usually called Roderick in these fantasy films? When a monk steals the seeds who else can be trusted to do everything wrong but Jack. Take the seeds to the Abbey (yes) and on the way, don’t get them wet (now that shouldn’t be so hard, should it).

Bill Nighy and John Kassir gesture two horns at the world

Bill Nighy and John Kassir gesture two horns at the world

At this point the Princess knows she’s in serious danger of becoming the token woman and so makes a dramatic speech claiming not to be some fragile creature. No, she wants to take responsibility, get to know the people, and set herself on the path to being a Queen. When King Brahmwell (Ian McShane), still overcome with remorse from the loss of his wife, hears this, he tells her to shut up and marry Roderick. So much for empowerment and the mediaeval feminist movement. That’s why she runs away, like any self-respecting Princess would in a fairy story. Inevitably, because that’s what the plot requires, she ends up in the tenant farm occupied by Jack — it’s dark, raining and she can’t see where she’s going. This is a bad thing because, with the roof leaking, one of the seeds is going to get wet. Obviously these are GM seeds because this specimen sure does grow fast and carry the farmhouse and the Princess up to the land where giants have been imprisoned (they’re led by General Fallon (Bill Nighy and John Kassir — it’s a big body to move around and it needs all the brains it can get). As a further aside, there must be a time distortion effect in operation because it’s the same exclusively male army of giants that were beaten the last time around. They have survived the hundreds (?) of years without any female companionship to make life worth living or perpetuate their species.

Stanley Tucci looking villainous despite the comic hair

Stanley Tucci looking villainous despite the comic hair

As the excitement rises to fever pitch, i.e. the music wakes us up, we meet Elmont (Ewan McGregor), the wannabe Jedi knight in charge of the rescue expedition up the beanstalk. He has his moments but lacks credibility, a fact made abundantly clear when they meet the first giant. This leaves Jack and the villain, who conveniently has the crown with him, running free in the land of the giants. Naturally, the villain uses the crown to control these poor creatures and plans to take over the world. With the first signs of true love blossoming, Jack gives the inspirational speech to the Princess. She’s not useless. She’ll make the world a better place. So then it’s divide and rule. Jack takes the Princess down the beanstalk and the Jedi knight type stays up top to kill the villain with the controlling crown. This creates a problem because when you’ve spent the first part of the film establishing the villain, it’s not good to kill him off and leave the giants as the villains when we don’t care about them. In the best fantasy films, the best villains are always the ones who are the most human. They betray and scheme, laugh when they succeed and cry when they suffer a reversal, i.e. they are credible as characters. It would have been so much better if Roderick had led the giants down to attack the kingdom. Jack could then have sneaked into the giant’s camp and killed the “old man” in a “fair fight” and taken the crown. That’s the right level of heroism for this Jack. When it comes to the ending, Jack’s got a great cart horse and he’s the saviour of the kingdom (more by luck than good judgement), relegating the Princess to the pretty one who gives birth to children and so loses her good looks.

I think the problem is that Bryan Singer and the people behind this film couldn’t make up their minds whether they wanted it to be scary or camp. The result is that it’s neither frightening in the slightest nor genuinely amusing. As a plot, it would have made a great thirty-minute episode in an animated series of fairy stories. It ticks the right boxes but it drags everything out to interminable length with poor CGI. The script is a dead weight round the necks of the high-powered cast of actors so they can’t get laughs to paper over the cracks. The giants are suitably massive and throw trees around like matchsticks (not sure how they set then on fire first), but they’re not used to frighten. Although he does kill one by accident and causes two more to die, Jack never feels like a heroic giant slayer. And just telling them all to quit making a nuisance of themselves and go home is a ho-hum ending. Sadly, Jack the Giant Slayer is just dead on arrival.

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