![]() ![]() Not all the clues fold out into anything, and there are too many characters cluttering up the narrative. To the book, then: there’s no denying that "Hallowe’en Party" shows some of the structural faults from Christie’s late period. ![]() "Hallowe’en Party" was a decidedly successful adaptation, with Suchet and Zoë Wanamaker giving strong performances in the lead roles, and the director and designer taking full advantage of the creepiness allowed by a Halloween setting and airdate. The more recent episodes of the David Suchet series (creeping in from Series Nine, and in full throttle by Series Twelve, when "Hallowe’en Party" was adapted) have taken up this element of the character to considerable success. But despite the power of such a change to one of crime fiction’s most fascinating detectives, Christie’s age – and, ironically, her own disconnection from the modern world – prevented her from chronicling this with her younger self’s zest. ![]() Oliver is an extension of the themes in the last Poirot installments: his world-weariness, and his disconnection from the world, a world which no longer relies upon the same kinds of social mores and interpersonal tricks that he excelled at recognising. Aside from being a dynamic character in her own right, and a fun fictionalisation of Christie, Mrs. It’s no surprise that Dame Agatha came to rely on Ariadne Oliver as Poirot’s familiar in his last novels. In which a young girl is killed, and Ariadne Oliver calls in an old friend. ![]()
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