Christie was willing to allow (in a very English "people are people" way) that every relationship has its own vibe, which vibe isn't always fully anticipated. Sometimes the good guy gets the good gal (4:50 to Paddington). Sometimes the adventurous guy gets the adventurous gal (Cards on the Table). Sometimes a tough strident woman gets a dreamer (Hercule Poirot's Christmas). Sometimes a passionate couple realize that they are actually also friends (Moving Finger). Sometimes the bad husband gets his wife back (Mysterious Affair at Styles). Sometimes the fiery exuberant gal really does want the limp, waffling idiot (Sittaford Mystery). Sometimes the girl-in-love-with-the-aloof-man learns to love someone more compassionate and real (Sad Cypress). Sometimes the taciturn brute gets the matter-of-fact Wren (Taken at the Flood). And sometimes the rogue gets the princess.
The criticism is unfair. Like great singers, great ice skaters, and great dancers, Christie doesn't call attention to her skill. Her character development isn't belabored--the ease with which she creates character is not always appreciated.
Christie was quite adept at the strong-willed straightforward gal who gets the Everyman guy.
An early Poirot episode is a great example of the possibilities that lie within Christie texts. The episode is also an echo of Christie's approach to character development: lightly done without drawing too much attention to its purpose.
The episode is "The Dream" in which the victim's daughter wants to elope with a man in the office. Then, her father dies. But the man shows up anyway, ready to go! He is rather like Brian from 9:50 from Paddington: a decent, action-oriented guy who is a little at a loss in peacetime, without clear direction. But when he needs to act, he acts! He tackles the villain! And he and his fiancee agree to elope anyway.
In the episode, the couple are played by Joely Richardson and Martin Wenner.
