Appointment with Death
- Episode aired Jul 25, 2010
- Not Rated
- 1h 20m
IMDb RATING
7.5/10
2.6K
YOUR RATING
Syria 1937. While accompanying her husband on an archaeological dig, the abusive and overbearing Lady Boynton is found stabbed to death.Syria 1937. While accompanying her husband on an archaeological dig, the abusive and overbearing Lady Boynton is found stabbed to death.Syria 1937. While accompanying her husband on an archaeological dig, the abusive and overbearing Lady Boynton is found stabbed to death.
Abdelkader Aizzoune
- Concierge
- (as Abdelkader Aizoun)
Mansour Badri
- Taxi Driver
- (as Badri Mansour)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaFeatures considerable changes regarding Agatha Christie's novel, like the fabrication of new characters (Lord Boynton, Nanny Taylor, and Sister Agnieszka), the omission of others (such as Nadine Boynton and Amabel Pierce), the retooling of existing characters and even the reasons of the killer.
- GoofsRaymond says he spoke to his mother at one, the hottest part of the day. A common mistake is to assume noon to one is the hottest part of the day, when it is actually two to three pm, regardless of where in the world you are. The heat continues to build until that time then the weaker sunlight in the later hours causes the temperature to drop.
- Quotes
Hercule Poirot: There is nothing in the world so damaged that it cannot be repaired by the hand of the almighty God. I encourage you to know this, because without this certainty, we should all of us be mad.
- ConnectionsVersion of Appointment with Death (1988)
Featured review
The Gathering
Christie invented so much, and much of that has found its way into the film vocabulary. As with Conan Doyle, one can hardly work on her material without taking chances. Part of the risk is readers who will be upset with the translation to film. But others, like myself, may be annoyed not by details of the story, but overarching, necessary structural issues.
That's because it is just those structural issues that helped build film, build the way we dream visually. One of her devices is the Poirot gathering. By simple fiat in every story, Poirot is able to get everyone involved in the same space while he recounts how things transpired and why.
The device is very particular, because these people are both characters in the story, and audience (shared with us), as things are explained. Almost everyone in the room has some secret that is exposed to the others with some surprise. This is one effect I call folding, this notion of participants becoming audience. So when I judge these adaptations of Poirot, I have to start with that final sequence and judge whether it works.
I am a very hard judge, and have really been critical of many of the Suchet productions. But this one works, because that final sequence is well oiled, full of the dynamics that reinvent everything we have seen. That is thin mustard because we have only been watching from afar, but it is life-altering stuff for our surrogate audience,
All else is good enough, and occasionally is better than we need to keep going until we reach the apogee.
That's because it is just those structural issues that helped build film, build the way we dream visually. One of her devices is the Poirot gathering. By simple fiat in every story, Poirot is able to get everyone involved in the same space while he recounts how things transpired and why.
The device is very particular, because these people are both characters in the story, and audience (shared with us), as things are explained. Almost everyone in the room has some secret that is exposed to the others with some surprise. This is one effect I call folding, this notion of participants becoming audience. So when I judge these adaptations of Poirot, I have to start with that final sequence and judge whether it works.
I am a very hard judge, and have really been critical of many of the Suchet productions. But this one works, because that final sequence is well oiled, full of the dynamics that reinvent everything we have seen. That is thin mustard because we have only been watching from afar, but it is life-altering stuff for our surrogate audience,
All else is good enough, and occasionally is better than we need to keep going until we reach the apogee.
helpful•1112
- tedg
- Feb 24, 2015
Details
- Runtime1 hour 20 minutes
- Color
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