It's not a dream, it's Captain Hastings!

Yes, he's back again!!

Now that I've returned to blogging on a regular basis I feel ready to resurrect one of my favourite series of recurrent posts - the fashions and foibles of Captain Arthur Hastings, as played by Hugh Fraser in the excellent TV series Agatha Christie's Poirot.  Judging by this blog's stats page and the number of comments I've received over the years posts featuring the good Captain are well-liked by you the reader too so, by overwhelmingly popular demand, we return now to the adventures of Captain Hastings!

I covered Hastings's all too-brief appearance in The Big Four when it first aired in 2013 and although I have received requests to do Curtain next I have only just come to terms with what happened in that episode and the fact that it was the series finale(!).  More to the point I don't actually have it to hand to screencap at the moment, my Poirot DVD box set being an older edition only going up to series 10 (which is fine by me since Captain Hastings - plus Miss Lemon and Inspector Japp - don't appear after series 8 and the episodes from that point onward veer too much towards the darker end of the spectrum for my taste).  I will keep a lookout for Curtain - it is bound to be repeated on ITV3 at some point - with a view to featuring it on here later.  In the meantime we return to the early days and the next chronological episode to feature our favourite chap, which, it having been so long since I've done one of these, is the series 1 episode (so still lots more to come, hurrah!) The Dream.  Anyway, enough waffling from me - we want Hastings!

In this long shot we can just make out his splendid-looking half-belted sports
jacket and, what is that Miss Lemon's wearing?  Could it be...?

Yes, it's that ruddy bow cardigan again that started it all.  Never mind that, though,
we're here for Captain Hastings and he doesn't disappoint.  One of his best outfits
so far, in fact - a wonderful combination.  Shirt, tie, cardigan, jacket - it all works.

There's so much going on actually that one caption isn't enough to do it justice, so I'll add my thoughts to this outfit here.   I love the blue, red and cream check of the cardigan (which gets further outings in future episodes, so watch this space!), set off against the splendid colours of the striped tie and finished off by the understated grey sports jacket.  Then there's the shirt with its small, understated spearpoint collar and - a nice touch - working single cuffs with cufflinks.  In short, the archetypal 1930s look and one every right-thinking chap should - and could - aim for.  On the subject of cuffs I've encountered conflicting opinions over the years, the general consensus in my experience being that double (or French) cuffs are more formal and therefore more representative of the period, while single cuffs are more informal (except when worn starched with formal evening wear) and the preserve of country attire.  But then I see things like this - Hastings rocking the single cuffs with links - and I begin to see things in a different light.  What we're looking at here is a typical Thirties informal look, so single cuffs are perfectly acceptable especially when set off with a pair of cufflinks.  The trouble is single cuff shirts with the facility for links (as opposed to just button fastenings) can be hard to come by these days.  The only one in my wardrobe is a rather summery Bengal striped number from Peter Christian; other modern makers such as Savile Row Co. also offer the facility for cufflinks with single cuffs, otherwise you're looking at the more "period" suppliers like Darcy Clothing or Revival Vintage.  That's enough about shirt cuffs though - back to the action!

A nice close-up of the jacket, collar and tie combo.

We open the scene with Hastings helping Miss Lemon with the morning mail.  Our man is amused and intrigued by an offer of 'Home Phit' ("That's funny - 'Phit' spelt with a 'ph'".) leather shoes; sadly we never find out if he avails himself of a pair.  Miss Lemon is unamused by the antics of her typewriter - left in the flat by a previous tenant, much to the delight of the thrifty Poirot - which keeps jamming (and am I the only one who constantly mishears her annoyed and terse exclamation of "Bother!" as something rather stronger?!).

Something for the typewriter fans as well - can you identify the recalcitrant model
from this picture (all will be revealed at the end of this post)?  (Note we also get to
see Poirot's full address and telephone number courtesy of this shot.)

The next letter is from a Hugo Cornworthy, private secretary to noted industrialist and pie-maker Benedict Farley, requesting that Poirot comes to his offices so that he may consult him.  The Farley's Food factory is of course in reality the Hoover Building, which has featured on this blog before (and also in the previous episode as the "Parade" film studio - the production company must have done some back-to-back filming there, I think!  As an aside, someone once told me that all the exterior shots of Florin Court (aka Whitehaven Mansions) were done over the course of one long weekend and then simply interspersed throughout every episode, but I cannot vouch for the veracity of that.).

Even in the dark our man's style stands out like a beacon of rightness.  Hat,
belted coat with effortlessly turned-up collar and scarf - oh yes, he's back all right.

No-one pulls off the turned-up collar look better than our Captain Hastings.
The muted earth tones of the scarf set off nicely against the coat, hat and gloves.

Hastings (and Poroit, to be fair) is disappointed to be told that the invitation does not extend to him, so it's back to the car to wait for Poirot to come out.  Poor old Hastings!

Back at the flat the next morning and Miss Lemon takes Poirot to task over the troublesome typewriter, backed up by the good Captain.

A better look at that wonderful knitted waistcoat and, just for the girls, Miss
Lemon's delightful emerald green dress with contrasting asymmetric collar/cuffs
(fellow blogger Porcelina has previously looked at the other fashions in this episode). 

Needless to say it isn't long before there's a corpse to deal with but in the following days Poirot is unable to get a grip on the case, much to his frustration.  Hastings helps out by doing the crossword.

Just as Miss Lemon's bow cardigan is a wardrobe staple in early episodes, so too
is Hastings' grey Prince of Wales check suit it seems. 

When Poirot starts to lament that his little grey cells are dying due to too much "fast living" Hastings is there to (sceptically) comfort him.

Thanks to a second tisane and Miss Lemon nearly breaking her neck looking out the window to check the time Poirot has an epiphany and he and Hastings dash off to Farley's Foods to unmask the murderer.

I do love how a simple change of tie can completely reinvigorate the ubiquitous
PoW three-piece.

Poirot's theory requires Hastings' assistance in quite an exciting manner - our hero is about to swing into action!

While Poirot gathers everyone together for the classic dénouement, Hastings waits for his moment:

The green tie sets off nicely against the grey of his suit.

"The name's Hastings.  Arthur Hastings."  Seriously, why hasn't somebody in the
Poirot fanfic community done this?!  I  may have to do something about it myself...

Single cuffs with links again and a smashing rectangular Thirties wristwatch as our
hero takes aim.

Hastings really does have a lot to do in this episode.  Having so ably helped Poirot to prove his theory, the killer is unmasked and makes a bolt for it (WARNING: if you haven't seen this episode - then what's wrong with you?! - here be spoilers) but once again everyone's favourite chap is on the case.

Alas after what must have been a bruising struggle down a marble staircase, the villain escapes our man's clutches and dashes out into the factory grounds.  Kudos at this point must go to the character of  Herbert, the fiancée of Farley's daughter (Joely Richardson), who turns up on motorcycle and sidecar - suitably dressed in full flying leathers, goggles and scarf - intending to elope but who instead is just in time to chase the murderer down in dramatic fashion.  Captain Hastings would be impressed!

With the case solved it's back to business as usual at Poirot's flat.  Miss Lemon is still battling with the typer when Poirot arrives bearing a suspiciously typewriter-shaped box.

I do love Poirot's expressions in this episode.  One can never get enough of Hastings'
suit, either.  I'm beginning to understand the obsession with that bow cardigan now.

I promised you a closer look at the troublesome typewriter.  Yes, it's an Underwood,
and given its back story, the period setting and four-bar keyboard I'm going with it
being a Number 5.  Would you agree?

You'll have to watch the episode to see if Miss Lemon does finally get a new typewriter out of Poirot(!).  This has turned into quite a monster post - whew!  Well done if you've made it this far but, well, you did ask for it (and I'd forgotten how much I enjoy composing them).  For now we'll finish with a few more gratuitous shots of Captain Hastings and his superlative three-piece suit as we bid farewell to him, Poirot and Miss Lemon until the next time, when we'll return to find them in - Peril at End House.

Goodbye to the splendid 1930s world of Poirot

Goodbye to the splendid 1930s world of Poirot

And goodbye to the man himself!

I trust those of you who were able to tune in and watch Wednesday's episode have recovered - as much as anyone can recover! - from seeing the final adventure of the great Hercule Poirot?  What do we do now?!  No more M. Poirot.  No more Captain Hastings!  No more beautiful 1930s splendiferousness to jealously drool over.

The last in particular is the subject of this nicely-written article on the B.B.C. Magazine website (jolly sporting of them, considering Poirot was an ITV production), which focusses on two (of many) aspects that made this series a cut above the rest and possibly the best adaptation there's ever likely to be of Agatha Christie's work - the sets and the locations!

Florin Court, aka Whitehaven Mansions
source

The stunning Art Deco buildings that featured throughout Poirot added wonderfully to the period feel, as well they might, and certainly helped the stories along on many an occasion.  That lovely feeling of being right there back there in the 1930s was in no small part due to the locations used and it's a testament to the producers that they were able to find and use so much period architecture (thanks also in no small part to the likes of English Heritage and the many volunteers and enthusiasts who helped ensure these gems were saved from ignominy).  I've always marvelled at how it was possible to create such an authentic look on location - but I suppose that's the beauty of London where many examples of Art Deco design still exist, plus our ongoing love affair with stately country houses.

Midland Hotel, Morecambe
source

I'm glad - and not really surprised - to see that Poirot itself has ensured that the public interest in Art Deco and Streamline Modern design remains high, which must surely bode well for the future of many original buildings.  If it carries on giving the likes of you and me our required fix of '30s glamour as well then so much the better!  It's also delightful to know that, thanks in part to the series, modern architects are being influenced by the Art Deco movement and incorporating some of its motifs into today's new designs.  You can never have too much Deco, say I!


Then there were the sets!  Oh, I think we all would like to live inside Poirot's flat wouldn't we?  (Could we all fit though?  We'd have to draw up a rota and stay at Burgh Island, or the Midland Hotel in between times.  You can tell I've seriously thought about this...)  Once again the quality of the set decoration is second to none and again I'm delighted but not surprised to see that so many props and other pieces were obtained from various sources including David Suchet himself!

source

There it is, then.  The end of an era for British television.  I've said it before and I'll say it again - I think we've just been witness to a generation-defining portrayal not just of a character but also the world he inhabits.  Thank goodness for DVDs is all I can say, where we can relive the wonderful world of Poirot again and again to our hearts content.  On that subject, Captain Hastings posts will continue to appear here for some time to come (I'm only up to Series 1 Episode 8, after all!) with maybe another special diversion to Curtain, which features far more Hastings than The Big Four did.  It's been a bit Poirot-centric around here lately, I know, but with good reason.  I shan't let this turn into a Poirot-only blog (although it wouldn't be the end of the world!) if only because there already is one and I don't want to tread on the chap's toes.  But I can't let it pass without saying this.  Thank you, ITV, for sticking with it for 25 years.  Thank you, David Suchet, for such a stellar performance. Au revoir.

Poirot: The Big Four; or, The Big Two-and-a-half...

... that being the rating, out of four, that I would give last Wednesday's Poirot.  The Big Four?  More like The Big Disappointment for this blogger, I'm afraid.

Still, by popular demand - especially from overseas readers - here follows a vague outline (so as not to spoil it for those of you who haven't yet seen it!) of the episode, focussing particularly on the welcome return of series stalwarts Japp, Miss Lemon and Captain Hastings!

Well, focussing as much as possible considering one of the biggest problems with Wednesday's episode - after all the fanfare of their much-anticipated return Miss Lemon and Captain Hastings appear in this two-hour drama for all of about 10 minutes.  Japp fares better - being the policeman he is with Poirot for most of the investigation but really, to build up a chap's (or chappette's) expectations and then give us the barest serving of Lemon & Hastings - especially when the latter is so crucial to the plot of the original book - just isn't bally well fair!  Giving us an opening shot of Hastings on his hacienda and having him utter his immortal catchphrase as the first words of the drama certainly created the impression in my mind that he was going to play a major part in this adventure.  Oh well.

Hastings seems to have settled down to the life of an Argentinian rancher...

As befits a working landowner, Hastings sports a combination of checked tattersall
shirt, spotted neckerchief and matching waistcoat and felt sun hat.

All together now... "Good Lord!"

Things seemed to progress nicely, albeit to the more sombre scene of someone's funeral, with all three of the old supporting characters together again - even though it be in sad circumstances (possible spoiler alert ahead!).

Miss Lemon!  Best shot I could get of this dress, which begins a line of simple,
patterned tea dresses(?) with a nice neckline

Japp (Philip Jackson) has aged well and his wardrobe has improved too, as befits
his new rank of Assistant Commissioner

Traditional funeral attire for Miss Lemon and Captain Hastings

At the wake and some of the old magic glints through the sadness as everyone is in Poirot's flat again.

Not much to add about Captain Hastings' black [pinstripe] suit. 
Miss Lemon's outfit has a few nice touches around the neck and sleeves.

It all gets a bit too much for Hastings.  Awww!

And that for much of the episode is all we see of Miss Lemon and the good Captain, as the action moves swiftly on to the main meat of the story.  Which, sadly, bears little resemblance to the original novel.  This is a great pity, as The Big Four has long been one of my favourite Poirot novels with its cases of international espionage and high adventure all held together by the thread of the mysterious "Big Four".  I admittedly haven't read it for some time but it has always stuck in my memory as a particularly thrilling book in which Hastings had much to do, some of it quite dangerous as I recall.  Much has been written already, including by fellow blogger Porcelina, of the difficulties inherent in adapting a convoluted series of cases into a 90-minute TV drama (Mark Gatiss himself has called the original plot "an unadaptable mess") but I still think they could have done better than the disjointed parody that has resulted.  They certainly could have and should have used Captain Hastings more prominently!

Anyway, for a good while there wasn't much worthy of comment so here are just a few general shots of the episode that I felt could be included here:

Japp's wardrobe, as mentioned, is at it's best ever.  He even looks halfway decent
in white tie (although still not a patch on Poirot)!

Quite a nice suit for the Assistant Commissioner

The old brown trilby and overcoat make a welcome return, though.

Some things that thankfully haven't changed too much are the production values.  Certainly like all Poirots since the series' 2003 "re-imagining" everything has been filmed in much darker, tenebrous style which can still take a bit of getting used to after the lighter tone of the earlier episodes.  As a result the fashions on show tend to be a bit duller and more limited, as was the case in The Big Four.  A couple of the effects were a bit ropey too.  The props were splendid, though, as were the locations (despite being less wide-ranging than those in the novel).

Poirot has a beautiful Art Deco chess set (of course!).  Which, I'm delighted to
see, you can buy an example of yourself.

For the ladies, these were the best shots of the few fashions that cropped up during the episode:

Madame Olivier seems to favour checked suits...

This particular adaption also seemed to have been cursed with the inclusion of an annoying, gabby actress (Flossie Munro, played by Sarah Parish) and an annoying, arrogant newspaper reporter (Mr Tysoe, played by Tom Brooke), neither of whom endeared themselves - or the plot - to me very much.  The episode was also extremely hamstrung, in my opinion, by a disappointing Big Reveal.  Even taking into account the smaller scale of this version, the unmasking of the villain turned out to be not only unexpected but also unbelievable.  He was completely without menace and had a motive so flimsy and far removed from the novel's dénouement that it made the previous 75 minutes seem rather disconnected and, dare I say it, almost hardly worthwhile.

Let's not end on such a sour note, though.  Part of the way through, Miss Lemon, Japp and Captain Hastings return [briefly] as we find ourselves back at the funeral/wake that began this story:

A highlight of Captain Hastings' wardrobe, limited as it is in this outing, is this
wonderfully well-fitted double-breasted overcoat.

Back at Poirot's, Hastings is determined to do what he can to catch The Big Four

I mean, he's really determined.  Remember that time he decided he'd solve the
case in Double Sin?  Even more determined than that.

He even has strong words with Japp.  I haven't seen him this angry since he
punched Miss Lemon's ex-boyfriend in The Adventure of the Italian Nobleman.

Once outside he calms down and stops to think.  In quite a poignant moment he is
heard to quietly ask "What do I do now, old chap?".

Here is where the could have introduced a bit more Captain Hastings - had him trying to follow leads, meeting with the reporter, the actress, Mme. Olivier.  But no, we don't see him again until about a minute before the end.  Thanks for that. (As an aside, it's struck me that no-one - from the Christie estate or otherwise - has thought to do a story or two with Captain Hastings as the main character.  Wouldn't that be great?  Adventures from his side of a case, or away from Poirot, or in Argentina.  Someone should really do that.  Are you listening, the Christie Community?)

A better look at Miss Lemon's black blouse

So having teased us half way through with another brief appearance of Hastings and Miss Lemon, we now have to wait until the very end to see them all together again.

Miss Lemon sporting a simple red dress with some nice collar detailing again.

Japp back in his [now usual] three-piece, and another look at Miss Lemon's dress.

Hastings burst in, having not been seen since he stormed out half an hour previously.
The episode ends not ten seconds later.  Still, every second with Hastings is a joy...

By and large then a fairly mediocre affair, saved only by the presence - however fleeting - of three beloved supporting characters from the past and David Suchet's consummate portrayal of Poirot.  There were a couple of gems in the dialogue - when confronted with a "Death" tarot card found on a victim's body Japp ruminates "Mrs Japp was dealt one just like that on Southend Pier.  'Gypsy Meg'.  Three weeks later the cat died".  We also get to see Poirot run for perhaps only the third time in the entire, well, run.  But for me the whole episode was neatly summed up by Poirot himself.  When his friends gather round at the end, he remarks "Where is Hastings?  Where is Captain Hastings?!".  It was a question I'd been asking myself for most of the preceding two hours...