The cast of Appointment With Death
Appointment with Death is the last new Hercule Poirot mystery to be shown on PBS for Season X. David Suchet and a sterling ensemble cast reenacted Agatha Christie’s tale in Syria – or did they?
Lord and Lady Boynton, the victim, and Sarah King, right
Big changes were made to the original storyline, which Christie had originally set in Petra. Lord Boynton, a famous archeologist, now searches for the head of John the Baptist. The cast of characters differed from the novel, and when the murder was finally solved in a dramatic (and unbelievable) way, I could scarcely believe what I was watching.
What could possibly be wrong with Dr. Gerard?
Many readers feel that Appointment With Death was one of Christie’s weakest novels, and tinkering with the story has done little to improve the plot. There is an undercurrent of cruelty in this adaptation (Mrs. Boynton is a worse child abuser than Mrs. Norris in Mansfield Park), which has not been adequately explained. And while Lady Westholme (Elizabeth McGovern) had much to lose, her role in this plot has changed it beyond recognition.
Hercule Poirot and Dame Celia Westholme
Oh, dear. This episode was not a good way to end the season. The only positive thing I can say is that once again the actors are superb. Tim Curry, Elizabeth McGovern, Christina Cole, Tom Riley, and Angela Pleasance make for a sterling cast.
Let's hope the next Poirot season ends with a bigger bang.
Appointment With Death was filmed in the exotic locations of Casablanca and El Jadida in Morocco, and the UK.
Tim Curry….. Lord Boynton
Christina Cole….. Sarah King
Tom Riley….. Raymond Boynton
Cheryl Campbell….. Lady Boynton
Zoe Boyle….. Jinny Boynton
Emma Cunniffe….. Carol Boynton
Angela Pleasence….. Nanny
Paul Freeman….. Colonel Carbury
Beth Goddard….. Sister Agnieszka
Christian McKay….. Jefferson Cope
Mark Gatiss….. Leonard Boynton
John Hannah….. Dr. Gerard
Elisabeth McGovern….. Dame Celia Westholme
Jane Austen's World 
I have never been that impressed with the 1988 version with Peter Ustinov. It is my least favorite of the Christie adaptations from the 1970s and 80s.
But . . . it is a masterpiece in compare to this adaptation. I don’t know. I have been very dissatisfied with the Poirot movies during the past few weeks. They’ve been written in such bizarre ways.
I read this book years ago, but I’ve pretty much forgotten how the story plays out, so I was able to enjoy this film “as is.” Yes, it was full of a cast of crazy characters – but now I’m very curious to re-read the novel and compare the two.
I’m not sure I like this season’s shows either. They’ve been very intense and overly morbid. I confess I haven’t seen previous versions – only the previous Poirots with Hastings (who I miss terribly) so I have nothing to compare them too. But they seem really really dark and miss where they are clearly trying to be poignant. The Third Girl for example – the big deal about her smiling. Could have cared less (but then, I hated that actress in Lost In Austen – she/it was dreadful).
I’m missing the witty edge that used to be Poirot.
I also miss the character Miss Lemon. I agree with all of the posted comments. There does seem to be a feeling dread attached to all three episodes. I also felt sorry for David Suchet’s overly dressed Poirot at the “archeological sites.”
Very disappointing (as were all three this summer). And what’s with this rosary business? Rosaries featured in two of the three, and are totally unfaithful to the originals.
I just knew it was filmed in Morocco!
It seems that unfaithfullness is the tendency among adaptations in this millenium :(. It goes for cinema or tv, British or American and no matter who is the original author.
But back at Poirot, I notice that at IMDB these latest renditons were originally from 2008 (at least that was when they were broadcasted in UK) along with the two adaptations that Masterpiece showed last year. So in USA they have received a very delayed release.
IMDB also lists 3 Poirots more already broadcasted in UK: The Clocks, Three Act Tragedy and Hallow’en Party, so they will be shown in Masterpiece next year. So you can prepare your readings :).
I disagree with the tenor of most of the preceding comments–although, of course, the ‘revised’ plot of “Appointment with Death” is even more absurd than Christie’s original. I really like the ‘dark version’ of Poirot in this summer’s series. He is a character of more depth than the comically neurotic ‘light version’ (whom, I recall reading, Christie herself found rather irritating). I take it that the point of the rosaries is to suggest the distinctly (and rather grim) Catholic worldview of the new Poirot-dark. But maybe I like all this because it reflects MY view of things; I can see how it might be off-putting to those of a more secular and cheerful view of the world.
It may reflect your view of things, but I thought these were by Agatha Christie, not Michael J. White.
Unless I’m terrible misinformed, Ms. Christie was long dead when these films were made. For those who prefer their Agatha to be British, upper-middle class, and cozy, fine. But what’s wrong with re-working her material? Artistic interpretation is the relevant concept–which, admittedly, can sometimes be wrong-headed. But not obviously so in these cases, in my view. After all, we haven’t (yet) been given “Murder on the Orient Express with Zombies,” have we?
Hello —
Can someone tell me what Poirot says to the hapless, tearful “orphan” at the end of this production and if Christie actually wrote the line? I believe Poirot prefaces the statement as something like “a bit of moralizing” or “pontificating”.
Thanks —
“I salute you” is what he says, Angela. (At least, that’s what it sounded like he said in French — it was a bit muffled.)
And, with everyone else, I wonder why they felt a need to change so much?
Thanks Marguerite, but that’s not exactly the phrase I was trying to get at – it was in English, not French, and was more in the line of advice/philosophy. It also may not have been quite at the end, but near the end of the episode.
Any thoughts?
Angela M., I, too, would like to know the exact wording of that bit of philosophy at the end. Unfortunately, even though I taped that episode it was erased before I could find it out. It had to do with moving on or else you’d go mad. Anybody have this?
Got it. “There is nothing in the world so damaged that it cannot be repaired. I encourage you to know this because without this certainty we should all of us be mad. “
It seems that unfaithfullness is the tendency among adaptations in this millenium.
I don’t mind if a TV or film adaptation is not completely faithful to the original novel. If certain elements of a novel does not translate very well to the screen, I say . . . change it. After all, the 2004 version of “DEATH ON THE NILE” is more faithful to Agatha Christie’s novel than the 1978 version. But I feel that the 1978 version is the superior movie.
However, the changes I saw in this latest version of “APPOINTMENT WITH DEATH” struck me as either unnecessary or just simply a case of bad screen writing.
Bravissimo, Pete — You made my day!
I miss Peter Ustinov.
I liked almost all of it! Again it was a darker view of the World. I too love the Capt. Hastings and Miss Lemon’s characters interacting with Poriot but and I say this with love…it is fluffy at times!
This gave a deeper Poriot, an older Poriot and a man who at the end will contemplate Murder himself. (See Christie’s last Book). I did not like the end or Mum and Dad thing. That seemed too easy. I think that should have stuck with the murderer in the Book. (need to re-read book) The imagery of the wind, sand and the riding horse…color of the clothes, children running around, the Hotel and cast all that gave a real flavor I felt.
I agree that these recent Poirots are far too dreary ( and too long). Bring back Hasting and Lemon, and let Poirot be his old self.
I want to be entertained.
I actually enjoyed this one – the 1988 version had a very boring storyline but the changes for the 2010 version perked it up a bit. A few things might have been different, but all in all I thought it was well done. The theme music was exceptional as well