Was Peter Ustinov the best Poirot?
Friday, April 16, 2021 at 9:55PM 
Growing up in a house furnished with the complete written works of Agatha Christie made me a fan of the whodunnit genre from a young age. My mum, an unabashed fan of criminal narratives and detective stories, made sure I was familiar with the figure of Hercule Poirot and, eventually, I too became a fan. While we've long spent joyful evenings sharing our love for the adventures of Belgium's most excellent fictional investigator, we don't always agree about this entertainment.
For instance, our idea of who the perfect on-screen Poirot differs significantly. Her heart belongs to David Suchet's book-faithful incarnation, while I prefer Peter Ustinov's joyful take on the same character. On the centennial of the the two-time Oscar-winning thespian, I thought I could elaborate on why Ustinov is my perfect Poirot…
MURDER ON THE ORIENT EXPRESS (1974)In 1974, EMI Films had a smash hit on their hands with Sidney Lumet's adaptation of Agatha Christie's Murder on the Orient Express. The film represented the third time Hercule Poirot appeared on the big screen, and it proved that the third time really is the charm. However, that movie's leading man wasn't willing to return for a sequel. Albert Finney did get a Best Actor nomination for his heavily-accented performance. Still, he wasn't thrilled at the idea of getting back into the thick makeup and fat suits necessary to portray Poirot. It was already pretty hard to do so inside a chilled studio and snowbound landscapes. To imagine doing it in the sunny margins of the river Nile was downright unbearable.
And so, for the big-budget movie adaptation of Christie's second most beloved Poirot novel, the producers had to find another star. That's where Peter Ustinov comes in. The thought process was that if they couldn't get Finney, the filmmakers might as well go for a completely different performer, a character actor capable of shedding new light into the classic character. Ustinov did that and more, though his approach horrified some Christie purists, including the author's daughter. When Rosalind Hicks saw one of Ustinov's auditions, she proclaimed that whatever he was doing, it was not Poirot. The cheeky screen veteran had a good answer ready: "He is now!"
DEATH ON THE NILE (1978)Indeed, Ustinov's Poirot isn't like the detective that Finney breathed life into, nor is he the man immortalized on the page. Instead of a saturnine and methodological master of deduction, the actor made Hercule Poirot into a joyful bon vivant who often seems to be having as much fun with his case as the audience's having while watching him. Instead of ponderous and heavy-footed, 1978's Death on the Nile becomes a different kind of whodunnit when Ustinov's on-screen. It's sillier, self-knowingly so, overtly willing to indulge in absurdity, saccharine entertainment, and even a penchant for the sentimental. It's hard to imagine Finney's Poirot getting heartbroken over a criminal tragedy, but Ustinov is able to add a twist of melancholy to the mystery's denouement.
He's a more demonstrative figure, able to negotiate the extremes of the plot with comedic fluidity rather than brittle dramatics. Sure, it's not the Poirot of the books, but I have the books for that. Better yet, if I want to see a faithful adaptation, I have 70 episodes of the David Suchet-starring series to observe. Ustinov's Poirot achieves a peculiar synergy with the films he's in, turning the detective into an accomplice of the audience rather than a portentous showman. He invites us into the plots rather than presenting them with alienating grandeur, actively offering a different experience than the books, justifying the mere existence of his Poirot movies in one swoop of inspired playacting. While it might not be to everybody's tastes, I love it.
EVIL UNDER THE SUN (1982)
Another factor that makes me adore Ustinov's Poirot is that, by a wide margin, he's the best-dressed version of the detective ever captured in film. Anthony Powell won an Oscar for his designs in Death on the Nile, where he dressed a sprawling cast in the most fabulous 1930s couture you can imagine. Rather than avoiding the absurdities that démodé fashions can inspire, Powell embraced them, weaving humor out of Angela Lansbury's Paul Poiret-esque taste for Middle-Eastern motifs or Maggie Smith's butch splendor. When it came time for Ustinov's Poirot to return, so did Powell, making Evil Under the Sun an even greater sartorial circus. Imagine the heights of 80s maximalism crashing headfirst into the face of pre-war style, and you might get an idea of what we're dealing with. Furthermore, Ustinov gets to model some of the most outrageous swimming wear.
APPOINTMENT WITH DEATH (1988)
Those two films are gems, precious jewels of comedic whodunnits which always paint a broad smile on my face whenever I re-watch them. If I'm feeling down, I know that I can turn to these movies for an instant pick-me-up, a good laugh, a delightful evening. The third movie of Ustinov's tenure of Poirot is less good, but there's still some charm in Appointment with Death. Three made-for-TV films transplant Ustinov's Belgium detective to the present day. Their quality is inconsistent, but there's a lot of campy fun to be had watching Ustinov face-off against Faye Dunaway in a double role or Tony Curtis at the peak of his autumnal charisma. Come watch these productions for the appeal of a well-told Agatha Christie lark, stay for Ustinov's cinema of joy and the clownish dandyism with which he's outfitted. You won't be disappointed.
What about you, dear reader? Who's your favorite Hercule Poirot?
Reader Comments (23)
David Suchet is my favourite Poirot. Suchet sees himself as a character actor in service to the character, not an actor imposing his personality on the character. Suchet illuminates the written Poirot of the books.
But Peter Ustinov is a joy as an actor and a writer. Did you know that Ustinov was Angela Lansbury’s brother-in-law? He married Angela’s older sister.
Ustinov is the best feature film Poirot, but I’d definitely take Suchet as best ever. I think he gets the fun of the role down as well as Ustinov but also paints with a finer brush technically speaking and has gravity and a light touch in perfect balance. Ustinov is a lot of fun and I do think that fun is both infectious and leads to interesting contrasts with his fellow players, but it’s definitely as broad as possible and a bit to bumpkin-ish for me. He doesn’t seem *particularly* genius. I’ve only seen his first two films, personally I love Evil under the sun best. I also think Ustinov isn’t the mvp in either film, though I think that speaks just as much to his generosity as a performer as it does to his colleagues. But Suchet is wittier i a way that I think matches up with Christie best. His Poirot is privately tickled and his enjoyment of the mysteries is something he keeps wryly to himself in a way that’s quietly hilarious. And when he’s affected emotionally it really registers in occasionally upsetting ways.
It’s a shame IMO Finney isn’t better. He’s arguably the best actor of the three but he takes it way to seriously and is so broad and simultaneously laborious. Very overrated movie IMO.
I am one of the people who definitely missed Claudio haha
I’m a huge Poirot fan and I like this post. Suchet is my favorite but I agree that there’s a lot to enjoy in Ustinov’s take on him. It’s a shame that we’re about to be subjected to another Branagh atrocity. It’s too bad they can’t just rerelease Evil Under the Sun.
First off, love this article. Poirot is perfectly nailed by Suchet, in my book, but I always thought Ustinov was so fun in the role. He brings a humor and even self-awareness that I'm not sure Christie would love, but she often was tired of Poirot herself so who knows? Death on the Nile is a treat (excited for the new one!) and I enjoy what I've seen from his other films.
Finney, who I very much enjoy in other films, was all wrong. The cast of 74's Orient Express was great aside from him, though if any of them were going to win Supporting Actress, it should have been Bacall. Pfeiffer is not to blame for the new Orient Express being a miss, but the direction and lead character don't work for me. It wastes a stellar cast.
Suchet embraced Poirot's flares as well as his negative traits and is ultimately the most successful. His version of Orient Express is excellent, and he needed to prove himself in the series before concluding with Curtain. Ustinov is clearly having a ball, and his movies are a fun watch. I genuinely hope Branagh gets much better.
Also curious - what are your favorite Christies? Mine: And Then There Were None (BBC version is terrific), Crooked House (liked the movie), N or M, Endless Night and Curtain.
Finney is by far my favorite. He’s meticulous about transforming into the hero from the pages Christie wrote. But more than that, he carries off a spectacular high-wire act between high comedy and dark exploration of the psyche. The actor finds a path through the outward absurdity of this guy. Finney combines true theater with the skill to modulate his big performance when that rare scenario reveals the detective’s humanity—Poirot erupts with anger as Sean Connery’s colonel betrays his deceased friend’s memory. In a fat suit, in an oily toupe, sporting a cartoon mustache—he hits the emotional target. And not for nothing, Finney has charisma oozing along with his hairline. His 20-minute monologue at the end is magnetic and spellbinds the viewer; few can pull such a trick off. Finney crushes it.
Nicholas Clay in his black Speedo in Evil Under the Sun...oh my!
EVIL UNDER THE SUN is a delight. It has some of the comic brio of a thirties screwball comedy or a particularly lighthearted Merchant/Ivory film (like ROOM WITH A VIEW.) The supporting cast is great, and the locale is lovely, as well. It's the only Christie adaptation I own, and I take comfort in the fact that anytime I have insomnia or have to take a sick day, it's here for me to put on and enjoy.
My mom also LOVES detective stories.
Finney is the best one for me. MoTOE is one of the best movies ever imo.
I watched all of those 4 films as a child and loved them all. This post helped me to understand why I was so discouraged by Branagh's film (and he is hilariously not even mentioned among Poirots in this article :D). New "Murder...", on top of not trusting its audience and wasting his cast, is pretty dark, dour and heavy and that's what makes it lifeless whereas 70-80s versions all included humor and charm of the novels. Judging by "Death on the Nile" new trailer and fugly black and white estetics, I guess I'm gonna be revisiting 1978 instead and turn to Rian Johnson for the sequels of "Knives Out" - way better Christie formula (funny, colorful, intriguing) despite being an original idea.
Any chance of a Helen McCrory right-up? I know she didn't make a 'huge' impression in the movies but based on the calibre of her performances I firmly believe she would have become an Oscar darling in her senior years. Such a tragedy.
Peter Ustinov was a fantastic Poirot. But Albert Finney and David Suchet were just as terrific. Kenneth Branagh is obviously the worst. What was he thinking remaking the brilliant Murder on the Orient Express that both Finney and Suchet played so brilliantly???
Peter Ustinov was a fantastic Poirot. But Albert Finney and David Suchet were just as terrific. Kenneth Branagh is obviously the worst. What was he thinking remaking the brilliant Murder on the Orient Express that both Finney and Suchet played so brilliantly???
Who cares about Poirot when we could discuss the superior Miss Marple?
I know that brookesboy has championed Finney before here, as have I. Finney is my favourite - meticulous, riveting, but also super-fun. And that long monologue in the climactic sequence... But I can relax into Ustinov's performances as Poirot and he's very likeable. Suchet, from the episodes I've seen over the years, is of course very solid, but perhaps a bit too low-key. I like Branagh in general but thought he was pretty disastrous in his first outing as Poirot, and as the director too. I really hope that, with Death on the Nile, he can pull off a happy surprise.
I stand with @brookesboy and others here who admire Albert Finney in the role of Hercule Poirot.
Finney captures the charisma and hyper-intelligence of the great detective, and set the bar quite high really. Btw. for most of us who came of age in the 70's or before, Murder On the Orient Express was the first time I had ever seen the detective.
Peter Ustinov was a very agreeable second try. His facility with languages made his Belgian accent much better, and I thought he looked more comfortable in the role. I adore "Death on the Nile" more for the scenery than any thing else, fantastic location shooting.
I agree that David Suchet is truest to the books, and Kenneth Branaugh was very miscast.
Now let's debate who was the best Miss Marple...
Hi, Edward--The 1974 version of MOTOE is one of my favorite films. So good!
A wonderful write-up, Cláudio, though I place myself firmly in the Albert Finney camp. Unrecognizable under a slab of make-up, he gleefully barrels through the movie, always holding his own against a variety of acting giants with a variety of acting styles.
At the time, no one disputed his acting nod even though he was in the company of performances in much more prestigious films. And I bet Murder on the Orient Express just missed a Best Picture nod. For me, it ranks with Wilder's Witness for the Prosecution as the best of the Christies.
Ustinov is Ustinov and utterly delightful, but Finney had the advantage of being in a better film under the guidance of one of the great directors of the time (thank you, Sidney Lumet)
And I'll forever defend Bergman's Supporting Actress win, but her co-stars -- Wendy Hiller, Rachel Roberts, Bacall -- are equally deserving. I wonder if they could've toppled Godfather II if SAG had an ensemble award then?
And I second Cash's sentiment -- can you do Miss Marple next please?
To be more serious, I've only seen two Poirot movies: Albert Finney and Kenneth Branagh in their separate MOTOE films. I liked Branagh more than the overall movie, but the Finney version is superior in so many ways.
Seeing Nicholas Clay in that speedo was my sexual awakening.
I personally think Suchet makes the perfect Poirot but for some reason Ustinov is my favorite. He made it so fun to watch! I am an avid reader of Christie novels and though I can see Suchet's Poirot is more accurate, I just enjoy watching Ustinov a bit more.
Joe--I love what you said about how Finney holds the audience's focus despite the high-wattage star power in the cast. That is not easy to do. And as you point out, the fact that he earned an Oscar nomination in that lineup, one of the best ever in Best Actor, is also saying a lot.
LadyEdith--Finney was also the first time I ever saw Poirot on screen, and it was an indelible experience in my movie-going life.
I obviously adore Finney's performance. As for Ustinov, his take on the character just doesn't work for me. It's way too low-key and casual in tone. There's a smugness to it that comes from the actor himself, not the character, that rubs me the wrong way. JMO.
Hi brookesboy: I love the 1974 MOTOE too, from its melodious and dramatic opening credits to its sinister (and perfectly shot and timed) kidnapping sequence, through the succession of star entrances as everyone is boarding the train, to that slow build as the train chugs out of the station and gathers speed...and that's all just in the first quarter! I could go on and on... What a film!
Peter Ustinov is great, he shows great in the concept that Poirot has of himself deep down, his gray cells are everything and he knows it, nobody like him. I love Suchett but I love Peter Ustinov dearly.
PS: Kenneth Branagh's Poirot is an insult to humanity.