MARK ALDRIDGE Crime Files

MARK ALDRIDGE Crime Files Series Editor Clive Bloom Professor Emeritus Middlesex University London , United Kingdom Since its invention in the nineteenth century, detective fi ction has never been more popular. In novels, short stories, fi lms, radio, television and now in com- puter games, private detectives and psychopaths, poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fi ction. Every aspect of crime writing, detective fi ction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. More information about this series at http://www.springer.com/series/14927 Mark Aldridge Agatha Christie on Screen Mark Aldridge Film and Television Studies Southampton Solent University Southampton , United Kingdom Crime Files ISBN 978-1-349-67695-8 ISBN 978-1-137-37292-5 (eBook) DOI 10.1057/978-1-137-37292-5 Library of Congress Control Number: 2016955645 © The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identifi ed as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprint- ing, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, com- puter software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Cover illustration: © Zoonar GmbH/Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Macmillan Publishers Ltd. The registered company address is: The Campus, 4 Crinan Street, London, N1 9XW, United Kingdom Dedicated to my late dad, Gary Aldridge FOREWORD Up until last October, when I retired as Chairman of Agatha Christie Ltd, I have been immersed in all things Agatha Christie since my grandmother died in 1976. Undoubtedly, the aspect of her work that took most time, and caused the most discussion, was in the adaptations of her work into fi lm and television (not to mention the ones we refused to authorise!). When I heard that Mark Aldridge proposed to write the defi nitive analysis of this side of Agatha Christie’s work, I have to confess that my reactions ranged from fascination to, sometimes, slight apprehension. I need not have worried. When considering adaptations, my colleagues and I tried to strike a bal- ance between satisfying the large band of passionate Agatha Christie fans, whose primary requirements were a faithful representation of the original story, and the modern television and fi lm viewers, who simply wish to be entertained. The latter, of course, are more numerous, and without their continued support no adaptations would be considered by fi lm moguls, television franchises or the like. When taking this approach, however, one lays oneself open to attack from both sides, sometimes deservedly so. It is to Mark’s credit that while continually standing on the side of the consumer, he quite evidently understands and sympathises with the basic dilemma my colleagues and I have always faced. I have enjoyed reading Mark’s book (which is a jolly good read) not only because I am frequently reminded of discussions and negotiations gone by, which resulted in a good number of wry chuckles, but also because in the book there are revelations of correspondence and even relationships of which I was not aware. The book is a mine of information. Perhaps other readers may agree with me that as well as a fascinating insight into the history of Agatha Christie adaptations, the book also throws much light on the whole area of television and adaptation, and its participants on every side of the fence. Finally, as I write this in early 2016, I am happy to say that many more Agatha Christie adaptations are in the pipeline—demand has never been higher. vii viii FOREWORD This must mean that we have all done something right, and I hope that most of those concerned, viewers and everybody in the industry will sit down and enjoy Mark’s book, because it is a fascinating piece of scholarship. Mathew Prichard Grandson of Agatha Christie January 2016 ACKNOWLEDGEMENTS Over the course of researching and writing this book, I have come into con- tact with dozens of people who have helped steer the project in some sense. Inevitably, I will have inadvertently missed out some names from these acknowledgements, but I would like to thank anyone who has taken the time to talk to me about Agatha Christie at any point over the last few years—it has invariably helped me to focus my work on areas that I felt would yield the most interesting discussion. Firstly, I would like to thank my supportive colleagues at Southampton Solent University, past and present, all of whom have helped in some capacity through general support and interest or specifi c assistance. I would especially like to thank Darren Kerr, Jacqueline Furby, Donna Peberdy and Karen Randell for their encouragement, while I would also like to thank Terence McSweeney for kindly translating extracts from some of the Russian productions. I am particularly grateful to Claire Hines, not only for her general support of the project, but also her willingness to read almost the entire manuscript so that she could offer constructive and timely comments. Thanks are also due to those who have provided opportunities for seem- ingly endless (and enjoyable) discussions about Christie’s work in all manner of ways—whether one to one, at an academic conference or on social media. And so, thanks to Rhett Bartlett, Jamie Bernthal, David Brawn, Beverley Button, Mia Dormer, David Fitzgerald, Sophie Hannah and Marjolijn Storm, all of whom have provided interesting and helpful discussions and information about Christie’s works. Researching a topic to the extent required by this study means that I have often relied on others to help me follow up a particular lead, or guide me through unfamiliar archives. From the BBC Written Archives Centre, I would like to thank Jessica Hogg, Louise North and Hannah Ratford, as well as the Corporation’s legal and business affairs manager, Lorraine Stiller. Similarly, I would like to thank the helpful staff at the British Film Institute in London, the Margaret Herrick Archive in Los Angeles and the Library of Congress in Washington, DC, all of whom helped me access the material I was looking for. ix x ACKNOWLEDGEMENTS I have also had valuable assistance from Shauno Butcher, Peter Crocker, Ian Greaves, Toby Hadoke, Andrew Pixley, David Rolinson and Yasmin Wall, all of whom have supplied me with material or information that has helped this project. At my publisher, Palgrave Macmillan, I would particularly like to thank Benjamin Doyle and April James, with whom I have worked over the fi nal few months of writing the manuscript, for their enthusiasm and prompt, helpful assistance. In my introduction, I outline the special contribution to this book made by John Curran, the leading authority on Agatha Christie, and Mathew Prichard, Agatha Christie’s grandson. On a personal level, their help has been instru- mental in making the writing of this book such a pleasure. Not only have they offered general support and interest, they have also provided access to materi- als and information, while also taking part in many hours of discussions about Christie’s works. I would especially like to thank John for his invaluable cor- rections and suggestions, while Mathew’s kind agreement to grant permission for the reproduction of much of the archival material in this book has helped make this a distinctive piece of research. I am hugely grateful for the time that both John and Mathew have spent, especially when I know how busy they are. I would also like to thank Mathew’s wife Lucy for her kindness and interest in the project, and to thank many of those working either directly or indirectly with the Agatha Christie archives. This includes the staff at the University of Exeter’s special collections, as well as Joe Keogh of the family’s own archive, and Eva Kelly and Lydia Stone of Agatha Christie Ltd—all have been hugely helpful. Finally, I would like to thank my close family and friends for their general support, including my friend Sebastian Buckle, who read much of the manuscript and provided valuable feedback as well as proving to be a useful sounding board for ideas and complaints throughout my research. The biggest thanks need to go to my partner James Peel, as well as my family, including my mum Sarah, my late dad Gary and my sister Joanne, for supporting me throughout the long gestation period of this book.

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