Review by Ian Keogh

Chronologically The Murder on the Links is the second of 34 novels Agatha Christie wrote starring London based Belgian detective Hercule Poirot. There’s already an ennui about him, bemoaning as early as the second page of this adaptation how the great criminals no longer exist, yet on receiving a letter exhorting him to come to France as there’s no time to lose he’s willing to forego the remainder of his breakfast to be on his way.

Poirot and his companion Arthur Hastings arrive in France only to learn their host was murdered that morning, his body discovered on a golf course still under construction with a knife in his back. Poirot’s investigation and questioning establish a broad chronology if not pointing toward a definitive murderer. That, however, is before Parisian detective Monsieur Giraud arrives, and doesn’t want Poirot interfering.

Christie was stunningly adept at ladling on the clues, the suspicious behaviour and the red herrings while having the actual circumstances locked in tight, and François Rivière’s adaptation brings an entire rush of them soon after Poirot’s arrival in France. It’s a casualty of being allocated only 44 pages to adapt a novel four times the page length, so introducing a lack of subtlety.

It also means a far greater need for conversations as Poirot explains himself to Hastings more frequently. However, the need is greatly disguised by artist Marc Piskic providing his own sleight of hand by immersing readers in rich period detail. Furnishings, architecture, transportation and shopfronts are all rendered in a convincing and attractive period style that constantly catches the eye. His people too are distinctive, with as much attention paid to their clothing and appearance as to their surroundings. All the men have a moustache, as was the style after World War I, and Piskic also ensures the more elderly cast members have an even more old fashioned look about them. Not all adaptations in this series have art of this quality.

In order to compress the plot Rivière has to tinker a little with the mechanics, but it makes for a more satisfactory graphic novel. It’s so well plotted and with such a large cast that Poirot may be confident in his deductions, but most readers will be scratching their heads until the final revelation.