Hercule Poirot (Sir Peter Ustinov) attends a dinner party in which one of the guests clutches his throat and suddenly dies. The cause seems to be natural until another party with most of the same guests produces another corpse.
An American movie actress, best known for playing dumb blondes, is Scotland Yard's prime suspect when her husband, Lord Edgware, is murdered. The great detective, Hercule Poirot, digs deeper into the case.
Trying to find how a millionaire wound up with a phony diamond brings Hercule Poirot (Sir Peter Ustinov) to an exclusive island resort frequented by the rich and famous. When a murder is committed, everyone has an alibi.
A friend of Miss Marple's sees a woman being strangled in a passing train. When police cannot find a body and doubt the story, Miss Marple enlists professional housekeeper, Lucy Eyelesbarrow, to go undercover.
Emily Boynton (Piper Laurie), stepmother to the three Boynton children, and mother to Ginevra (Amber Bezer), blackmails the family lawyer, Jefferson Cope (David Soul), into destroying the second will of her late husband, which would have freed the childern from her dominating influence. She takes herself and the children on vacation to Europe and the Holy Land. In Jerusalem, Hercule Poirot (Sir Peter Ustinov) meets up with a woman friend, Dr. Sarah King (Jenny Seagrove), who falls in love with Raymond Boynton (John Terleskey) to Emily's disapproval. Lady Westholme (Lauren Bacall), her secretary, and Cope are following them too. The children learn about the second will, and Emily succeeds in rubbing the rest the wrong way, causing much hatred towards her. At a dig, everybody wonders about the camp, and Emily is found dead, poisoned. Poirot investigates.Written by
Lee Horton <Leeh@tcp.co.uk>
You'd think that with a good story (an Agatha Christie whodunit), a solid cast of actors, and some great locations, it would be difficult not to produce a good movie. Unfortunately, in this case all that is for naught. "Appointment" has the look and feel (and lousy sound) of a badly done 'Movie of the Week' or an episode of 'The Love Boat' from hell. Most of the blame should go to director Michael Winner: every one of his directorial choices -- from his over-reliance on pedestrian shots, his ill-conceived blocking, or the waste of good acting talent (he should be shot for turning Piper Laurie and Lauren Bacall into scene-chewers) -- seems designed to make this production the movie equivalent of root-canal.
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