A Golan-Globus production, copyright 1988 by The Cannon Group, Inc. Distributed by Cannon in key territories. New York opening: 15 April 1988. London premiere: 27 May 1988. 108 minutes. Cut to 102 minutes in the USA.
SYNOPSIS: The time is 1937. After depriving her mature-age step-children of their rightful inheritance, a tyrannical matriarch takes her family on a tour of the Holy Land.
NOTES: Counting his three TV movies, this is Ustinov's sixth (and final) appearance as Hercule Poirot whom he commenced playing in Death on the Nile (1978). The others: Evil under the Sun (1982), "Thirteen at Dinner" (1985), "Dead Man's Folly" (1986), "Murder in Three Acts" (1986). USA rental gross was only $960,000. Even allowing for a similar gross from the rest of the world, the film would have been lucky to break even.
COMMENT: With an enormous amount of actual location lensing, this entry certainly looks expansively attractive. Unfortunately the sound re-recording is occasionally a bit on the blurry side, but a much worse annoyance is the fidgety, jumpy, jerky film editing perpetrated by Mr Winner, who seems anxious that neither a single unnecessary location set-up or top-heavy studio close-up be jettisoned. These two irritants make the plot somewhat difficult to follow. Admittedly, the editorial rhythm does settle down about halfway through. In fact, the story even starts to drag a little, despite the welcome insertion of a couple of well-staged action sequences. Ustinov's indifferent performance doesn't help either.
The movie is saved by Lauren Bacall, however, ably assisted by Jenny Seagrove and-in lesser roles-Piper Laurie and David Soul, almost right up to the fade-out when an unexpected conclusion proves not only highly disappointing but leaves a bad taste in the mouth. In a book or on the stage, Miss Christie probably managed to get away with it, but cinema audiences are rooting for the character concerned. It comes as a big blow when this charismatic person turns out to be a cold-blooded killer. I'm not surprised the movie failed to recover its negative cost in America.
OTHER VIEWS: The murder mystery itself proves far less interesting than the scenery, while the locations themselves are often dwarfed by the cast. With the exception of Peter Ustinov (who often seems to have wandered into the movie by mistake), the principals deliver mighty engaging performances, though it's sad to see Hayley Mills in such a lackluster and unrewarding role. David Soul gives a good account of himself, but it's the women led by Lauren Bacall and Piper Laurie who really excel. Director/editor Michael Winner seems overly concerned to cram as much location footage as possible into the film, often at the expense of coherence. But then, when it comes to the minor players, who cares who's who anyway?
SYNOPSIS: The time is 1937. After depriving her mature-age step-children of their rightful inheritance, a tyrannical matriarch takes her family on a tour of the Holy Land.
NOTES: Counting his three TV movies, this is Ustinov's sixth (and final) appearance as Hercule Poirot whom he commenced playing in Death on the Nile (1978). The others: Evil under the Sun (1982), "Thirteen at Dinner" (1985), "Dead Man's Folly" (1986), "Murder in Three Acts" (1986). USA rental gross was only $960,000. Even allowing for a similar gross from the rest of the world, the film would have been lucky to break even.
COMMENT: With an enormous amount of actual location lensing, this entry certainly looks expansively attractive. Unfortunately the sound re-recording is occasionally a bit on the blurry side, but a much worse annoyance is the fidgety, jumpy, jerky film editing perpetrated by Mr Winner, who seems anxious that neither a single unnecessary location set-up or top-heavy studio close-up be jettisoned. These two irritants make the plot somewhat difficult to follow. Admittedly, the editorial rhythm does settle down about halfway through. In fact, the story even starts to drag a little, despite the welcome insertion of a couple of well-staged action sequences. Ustinov's indifferent performance doesn't help either.
The movie is saved by Lauren Bacall, however, ably assisted by Jenny Seagrove and-in lesser roles-Piper Laurie and David Soul, almost right up to the fade-out when an unexpected conclusion proves not only highly disappointing but leaves a bad taste in the mouth. In a book or on the stage, Miss Christie probably managed to get away with it, but cinema audiences are rooting for the character concerned. It comes as a big blow when this charismatic person turns out to be a cold-blooded killer. I'm not surprised the movie failed to recover its negative cost in America.
OTHER VIEWS: The murder mystery itself proves far less interesting than the scenery, while the locations themselves are often dwarfed by the cast. With the exception of Peter Ustinov (who often seems to have wandered into the movie by mistake), the principals deliver mighty engaging performances, though it's sad to see Hayley Mills in such a lackluster and unrewarding role. David Soul gives a good account of himself, but it's the women led by Lauren Bacall and Piper Laurie who really excel. Director/editor Michael Winner seems overly concerned to cram as much location footage as possible into the film, often at the expense of coherence. But then, when it comes to the minor players, who cares who's who anyway?