I have a special fondness for episodes centering around archaeological expeditions and this one is a real corker from the start when it opens with a newsreel account of the discovery of a Egyptian pharaoh's tomb. The leader of the expedition, Sir John Willard orders the tomb broken into and almost immediately falls over dead. Speculation abounds - was his death the result of an ancient curse or natural causes? Lady Willard asks Poirot to investigate. Thereafter, three more unfortunate deaths occur and Poirot and Hastings go to the expedition site. The location scenes of the dig are wonderful. As to be expected all the dust and discomfort of the dig site much annoy Poirot. There is a bit of humor in this episode when Miss Lemon tries to get Poirot to use American slang which she had heard in a movie in a telegram. He, of course, is not amused and won't do it. Her brief attempt at using an American gangster accent is a hoot. The minor subplot of Miss Lemon's distress over the death of her beloved cat, Catherine the Great, is quite touching when at the end of the show, Poirot gives her a figurine of an Egyptian cat as a memento that will help her remember her cat in a superstitious kind of way. Hastings poohpahs the gesture but Poirot seems genuinely kind in his understanding of Miss Lemon's sadness. In terms of the murder itself, it is not believable that the murderer actually thought he could get away with it but that's okay because the whole lush production is so entertaining. Japp does not appear in this episode but nonetheless, this entry is a winner.
15 Reviews
One of the best short story Poirot adaptations
TheLittleSongbird11 April 2012
I have always been a fan of the Agatha Christie Poirot series, and The Adventure of the Egyptian Tomb is a strong example of why. It is very well made, as with all the Poirots, with some of the most gorgeous-looking scenery of any of the episodes, beautiful costumes and photography that is both elegant and cinematic. The music always has been a pleasure, and right from the iconic theme tune to the haunting background music The Adventure of the Egyptian Tomb is no exception. The script has its usual intelligence, I do agree to some extent that despite the splashes of humour the episode has the tone is quite grim, then in a way the short story was also. The story is still highly intriguing with the pace just right. David Suchet once again is impeccable, and Hugh Fraser and Pauline Moran both do great jobs contrasting with him. The support cast are fine, particularly with Anna Cropper as Lady Willard. The resolution is still interesting, but the way it was done was more effective I felt in the short story.
All in all, one of the better short story Poirot adaptations and of the firth season the best episode was for me between this, The Chocolate Box and The Adventure of the Italian Nobleman. 9/10 Bethany Cox
All in all, one of the better short story Poirot adaptations and of the firth season the best episode was for me between this, The Chocolate Box and The Adventure of the Italian Nobleman. 9/10 Bethany Cox
Good ingredients in the hands of master chefs
dmayo-911-59743226 June 2016
This is an especially enjoyable Poirot episode, owing mainly to the perennial allure of ancient Egypt and the perennial charm of Miss Lemon as played by Pauline Moran.
Miss Lemon combines calm efficiency with quick-witted gameness, and shifts between chilly eyebrow-raising and melodramatic enthusiasm. She can get out of the office and become the detective's intrepid Girl Friday, venturing into dangerous quarters to coax information out of shady characters -- and succeed without turning a hair. Or she can get deep into some personal fad like spiritualism, as she does in this episode. Please note that Miss Lemon's delightfully eccentric personality, like nearly all other delightful touches in this series of Poirot dramatizations, is entirely the work of the actor, TV writer, and director. The Miss Lemon who appears in a few of the original stories is a nearly inanimate lump of efficiency. Agatha Christie wrote of her characters becoming real people to her, but that should be set down to great powers of autosuggestion. One would say no writer had been so successful with such lifeless characters, but that no writer has been so successful with any characters.
The vulnerability to superstition that we find in Miss Lemon echoes a sad social phenomenon of the years after World War I, continuing into the 1930s. Miss Lemon turns to the planchette (an automatic-writing device that evolved into the Ouija board) in hopes of communicating with the departed spirit of her beloved cat. After the carnage of the Great War virtually wiped a generation of young men out of history, 19th-century spiritualism had a new vogue as a resort of bereft parents and lovers. Those people may have been doomed to frustration or exploitation, but Miss Lemon gains release from her much lighter grief through the kindness of her employer. Though Poirot never falters in his rationality, he is capable of compassion for the rest of us.
The plot of this episode is patterned on the sensation following the opening of King Tut's tomb, when several people connected with the expedition died unexpectedly. Romanticists attributed the deaths to a curse, while realists pointed to such factors as blood poisoning. It's hardly a spoiler to note that in Poirot's world neither curses nor blood poisoning will lie at the very bottom of things. That's the way we like it, of course, and we have to be willing to pay for our pleasure by swallowing a highly implausible plot. As with many of these stories, it's unthinkable that an intelligent person would risk the gallows for such a string of long shots. So don't think.
For that matter, "Don't think" could be the guiding principle that makes Hugh Fraser's Captain Hastings a joy to watch. Where Miss Lemon believes intensely, Hastings simply falls in with any passing stream of logic or nonsense. Watch him in the planchette scene and try to keep a straight face. Surely this character's literary cousin is not Dr. Watson, but Bertie Wooster, who once overhears his valet Jeeves describing him as "an exceedingly pleasant and amiable young gentleman, but not intelligent. By no means intelligent. Mentally he is negligible—quite negligible."
As always, you can't go wrong by watching this episode for the cast. The mummy's-tomb atmospherics are a big bonus, and the 1930s-style model shots are fun to spot.
Miss Lemon combines calm efficiency with quick-witted gameness, and shifts between chilly eyebrow-raising and melodramatic enthusiasm. She can get out of the office and become the detective's intrepid Girl Friday, venturing into dangerous quarters to coax information out of shady characters -- and succeed without turning a hair. Or she can get deep into some personal fad like spiritualism, as she does in this episode. Please note that Miss Lemon's delightfully eccentric personality, like nearly all other delightful touches in this series of Poirot dramatizations, is entirely the work of the actor, TV writer, and director. The Miss Lemon who appears in a few of the original stories is a nearly inanimate lump of efficiency. Agatha Christie wrote of her characters becoming real people to her, but that should be set down to great powers of autosuggestion. One would say no writer had been so successful with such lifeless characters, but that no writer has been so successful with any characters.
The vulnerability to superstition that we find in Miss Lemon echoes a sad social phenomenon of the years after World War I, continuing into the 1930s. Miss Lemon turns to the planchette (an automatic-writing device that evolved into the Ouija board) in hopes of communicating with the departed spirit of her beloved cat. After the carnage of the Great War virtually wiped a generation of young men out of history, 19th-century spiritualism had a new vogue as a resort of bereft parents and lovers. Those people may have been doomed to frustration or exploitation, but Miss Lemon gains release from her much lighter grief through the kindness of her employer. Though Poirot never falters in his rationality, he is capable of compassion for the rest of us.
The plot of this episode is patterned on the sensation following the opening of King Tut's tomb, when several people connected with the expedition died unexpectedly. Romanticists attributed the deaths to a curse, while realists pointed to such factors as blood poisoning. It's hardly a spoiler to note that in Poirot's world neither curses nor blood poisoning will lie at the very bottom of things. That's the way we like it, of course, and we have to be willing to pay for our pleasure by swallowing a highly implausible plot. As with many of these stories, it's unthinkable that an intelligent person would risk the gallows for such a string of long shots. So don't think.
For that matter, "Don't think" could be the guiding principle that makes Hugh Fraser's Captain Hastings a joy to watch. Where Miss Lemon believes intensely, Hastings simply falls in with any passing stream of logic or nonsense. Watch him in the planchette scene and try to keep a straight face. Surely this character's literary cousin is not Dr. Watson, but Bertie Wooster, who once overhears his valet Jeeves describing him as "an exceedingly pleasant and amiable young gentleman, but not intelligent. By no means intelligent. Mentally he is negligible—quite negligible."
As always, you can't go wrong by watching this episode for the cast. The mummy's-tomb atmospherics are a big bonus, and the 1930s-style model shots are fun to spot.
Deliver me from the god whose face is that of a hound, but whose skin is that of a man.
Sleepin_Dragon19 November 2015
An excavation sees the discovery of the tomb of King Men-her-Ra. The locals fear of a curse, and when someone dies it seems as if the gods are avenging the desecration of the tomb.
This is an absolutely fantastic production, it is incredibly authentic, it feels lavish and top end. The filming locations add massively to the overall feeling, no studio bound sets on show. They specified Egypt and we got it.
Brilliant music, it's eerie and adds a sense of foreboding throughout. It's very fitting to the episode, one of the best accompanying scores from the earlier years.
Every single member of the cast performs incredibly well, it's expertly acted. David Suchet is at his very best. The episodes have taken on a more serious tone.
I have always had a deep fascination with Ancient Egypt, so it's no wonder I'm hugely drawn to this story, but I truly think it's a glowing production. 10/10
This is an absolutely fantastic production, it is incredibly authentic, it feels lavish and top end. The filming locations add massively to the overall feeling, no studio bound sets on show. They specified Egypt and we got it.
Brilliant music, it's eerie and adds a sense of foreboding throughout. It's very fitting to the episode, one of the best accompanying scores from the earlier years.
Every single member of the cast performs incredibly well, it's expertly acted. David Suchet is at his very best. The episodes have taken on a more serious tone.
I have always had a deep fascination with Ancient Egypt, so it's no wonder I'm hugely drawn to this story, but I truly think it's a glowing production. 10/10
"Playing the good golf is no reason not to commit suicide, Hastings."
bensonmum210 August 2015
Immediately after entering an ancient Egyptian tomb, lead archaeologist, Sir John Willard falls dead of an apparent heart attack. Following his death, three more members of his party die in fairly quick succession. Is it the curse of Men-Her-Ra or it there something (or someone) more modern behind the rash of deaths? Poirot travels to Egypt to look for answers.
Yet another fantastic episode in a fantastic series. The Adventure of the Egyptian Tomb has everything you could ask for in a Poirot episode. It's a little darker than some of the earlier episodes with less humor. Sure, there's a funny moment or two, but the overall tone is different. The locations shots are once again outstanding. The costuming is especially good. The Egyptian desert outfits are a treat. The episode if brilliantly shot. Every scene looks impeccable. The acting is good. Suchet is at his best in the uncomfortable conditions provided by the desert. His rant about sand was perfect. And the music had a very ominous, otherworldly quality to it that suited the prospect of a curse quite nicely. My only complaint is the critical information known only to Poirot that he uses to solve the case. But as good as the rest of this episode is, it hardly matters.
I'm not sure if I enjoyed The Adventure of the Egyptian Tomb as much as The Mystery of Hunter's Lodge, but there's no denying it's a damn fine episode.
Yet another fantastic episode in a fantastic series. The Adventure of the Egyptian Tomb has everything you could ask for in a Poirot episode. It's a little darker than some of the earlier episodes with less humor. Sure, there's a funny moment or two, but the overall tone is different. The locations shots are once again outstanding. The costuming is especially good. The Egyptian desert outfits are a treat. The episode if brilliantly shot. Every scene looks impeccable. The acting is good. Suchet is at his best in the uncomfortable conditions provided by the desert. His rant about sand was perfect. And the music had a very ominous, otherworldly quality to it that suited the prospect of a curse quite nicely. My only complaint is the critical information known only to Poirot that he uses to solve the case. But as good as the rest of this episode is, it hardly matters.
I'm not sure if I enjoyed The Adventure of the Egyptian Tomb as much as The Mystery of Hunter's Lodge, but there's no denying it's a damn fine episode.
Pretty grim
gridoon202424 January 2008
Warning: Spoilers
Right after discovering the tomb of a powerful Egyptian king who has been buried there for more than 3,000 years, the members of an archaeological expedition start dropping off like flies: the first has a heart attack, the second dies when a small cut in his hand gets infected, the third commits suicide, and the fourth becomes ill with tetanus. The wife of the first victim believes (as do the locals) that there is a deadly curse at work, and consults Hercule Poirot. So he and Captain Hastings travel to Egypt to investigate.
This was the first episode in the fifth season of the series, and you can definitely sense a change of tone in comparison to most of the earlier episodes: although there are still traces of humor, everything (including Poirot himself) is a bit more serious and a bit more grim than before (the scenes showing the tetanus effects are brief but pretty strong). The story is intriguing, but the resolution largely depends on the reading of a will that Poirot is allowed to hear before the viewers - isn't that a bit of "unfair play"? And another thing: every Agatha Christie story I've seen or read so far that supposedly has supernatural elements makes it clear that Agatha didn't believe in the supernatural at all: there is always a rational explanation even for the most outlandish events. (**1/2)
This was the first episode in the fifth season of the series, and you can definitely sense a change of tone in comparison to most of the earlier episodes: although there are still traces of humor, everything (including Poirot himself) is a bit more serious and a bit more grim than before (the scenes showing the tetanus effects are brief but pretty strong). The story is intriguing, but the resolution largely depends on the reading of a will that Poirot is allowed to hear before the viewers - isn't that a bit of "unfair play"? And another thing: every Agatha Christie story I've seen or read so far that supposedly has supernatural elements makes it clear that Agatha didn't believe in the supernatural at all: there is always a rational explanation even for the most outlandish events. (**1/2)
Great episode
grantss19 August 2016
Hercule Poirot is hired by Lady Willard to investigate the death of her husband, the archaeologist Sir John Willard. Sir John was on a dig in Egypt to open the tomb of the Egyptian Pharaoh Men-Her-Ra, a tomb which is believed to be cursed. He suffered a heart attack the moment he walked into the burial chamber. Soon after this, another member of the expedition and the financier of it, Felix Bleibner, dies from septicemia after a seemingly innocuous cut. The inheritor of his wealthy estate, nephew Rupert Bleibner, commits suicide in New York a few days later. Poirot and Hastings fly out to the dig but already another member of the party appears to be afflicted.
Great episode, one of the best short-form Poirots. Intriguing with great settings and decent cinematography. This might be the closest the short-form Poirots came to the substance of the long-form ones and the scale of the movies.
Not perfect: the murderer is reasonably easy to figure out (well, for me, at least), based on opportunity and method (to a large extent). The motive is not obvious though, and neither is how the murderer managed to kill the nephew in New York, and that's what keeps you guessing.
Great episode, one of the best short-form Poirots. Intriguing with great settings and decent cinematography. This might be the closest the short-form Poirots came to the substance of the long-form ones and the scale of the movies.
Not perfect: the murderer is reasonably easy to figure out (well, for me, at least), based on opportunity and method (to a large extent). The motive is not obvious though, and neither is how the murderer managed to kill the nephew in New York, and that's what keeps you guessing.
The final scene (no spoilers)
frukuk6 March 2022
I think this was a pretty middling episode. But what I really liked was the final scene, between Poirot, Hastings and Miss Lemon. It's the kindness that Poirot shows -- the empathy that he exhibits -- that warms the little grey cockles of my heart.
The one about the curse on you if you open a tomb
blanche-224 October 2014
In "The Adventure of the Egyptian Tomb," Agatha Christie calls upon knowledge gained while married to archaeologist Max Mallowan.
Lady Willard, widow of Egyptologist Sir John Willard, consults Poirot. Both her husband and his financier died during the excavation of Pharaoh Men-her-Ra's tomb -- her husband had a heart attack, and the financier, Mr. Bleibner, died of blood poisoning. Bleibner's nephew shot himself a few days later. The newspapers claim an Egyptian curse.
Lady Willard is upset because now her son is going to Egypt to continue his father's work. She's afraid that he's next. Poirot and Hastings head for Egypt. By the time they arrive, there has been another death, this time from tetanus.
Excellent episode, if a serious one, lacking some of the earlier lightness found in Poirot episodes. Still, it's an absorbing plot and well done.
Lady Willard, widow of Egyptologist Sir John Willard, consults Poirot. Both her husband and his financier died during the excavation of Pharaoh Men-her-Ra's tomb -- her husband had a heart attack, and the financier, Mr. Bleibner, died of blood poisoning. Bleibner's nephew shot himself a few days later. The newspapers claim an Egyptian curse.
Lady Willard is upset because now her son is going to Egypt to continue his father's work. She's afraid that he's next. Poirot and Hastings head for Egypt. By the time they arrive, there has been another death, this time from tetanus.
Excellent episode, if a serious one, lacking some of the earlier lightness found in Poirot episodes. Still, it's an absorbing plot and well done.
Poirot in Egypt but Not on the Nile
aramis-112-8048804 April 2023
I have a weakness for stories about archaeologists in 1920s/1930s clothes and pith helmets. I even like the absurd "Marple" rendition of "The Sittaford Mystery" with Timothy Dalton because it started out that way (even though archaeologists had long since stopped using dynamite).
Egyptian archaeologists on a particular dig are dying. Why? Enter Poirot.
I won't bore you with King Tut connections. Other reviewers have ploughed that field pretty thoroughly. I'll just point out that this is a satisfying adaptation. And seeing Poirot mince around in sweltering Egypt in full dress is fun. Don't miss this one.
Egyptian archaeologists on a particular dig are dying. Why? Enter Poirot.
I won't bore you with King Tut connections. Other reviewers have ploughed that field pretty thoroughly. I'll just point out that this is a satisfying adaptation. And seeing Poirot mince around in sweltering Egypt in full dress is fun. Don't miss this one.
The Adventure of the Egyptian Tomb
Prismark1024 May 2019
Agatha Christie must have been inspired by the mysterious deaths that followed after the opening of King Tutankhamen's tomb.
This has been mirrored in The Adventure of the Egyptian Tomb. Members of a rival archaeological expedition who uncovered a tomb that might have had a death curse start to drop dead.
Sir John Willard dies first of what is regarded as a heart attack as soon as he entered the womb. Financier Max Bleibner then dies of blood poisoning from a mild scratch. His nephew who has returned to New York commits suicide. Another dies of tetanus. . Suspicion falls on the Egyptian curse to all those desecrated the ancient tomb of the king.
Lady Willard hires Poirot who races off to Egypt with Hastings who had earlier been in New York and came across one of the victim's. Poirot though believes that superstition is being used by the killer to frighten them off the scent.
This is a darker tinged episode, the humour has been lessened. The episode tries to swerve you off the culprit but there really can only be one person who can be the murderer. The story tells Poirot of a possible motive before the viewer.
This has been mirrored in The Adventure of the Egyptian Tomb. Members of a rival archaeological expedition who uncovered a tomb that might have had a death curse start to drop dead.
Sir John Willard dies first of what is regarded as a heart attack as soon as he entered the womb. Financier Max Bleibner then dies of blood poisoning from a mild scratch. His nephew who has returned to New York commits suicide. Another dies of tetanus. . Suspicion falls on the Egyptian curse to all those desecrated the ancient tomb of the king.
Lady Willard hires Poirot who races off to Egypt with Hastings who had earlier been in New York and came across one of the victim's. Poirot though believes that superstition is being used by the killer to frighten them off the scent.
This is a darker tinged episode, the humour has been lessened. The episode tries to swerve you off the culprit but there really can only be one person who can be the murderer. The story tells Poirot of a possible motive before the viewer.
Based, I'm sure, on the much ballyhooed curse of King Tut....
planktonrules13 April 2017
Shortly after King Tut's tomb was opened, some coincidental deaths occurred. Newspapers love making stories out of nothing and soon stories about a 'curse of King Tut' began circulating...and the public began believing the hype. No doubt that this hysteria was much of the inspiration for this Agatha Christie story with David Suchet playing the familiar Belgian detective, Poirot.
The story begins with an excavation of an Egyptian tomb...and soon folks from the expedition begin dropping like flies. Poirot's job is to sift through all this and determine if some crime has occurred or if they've somehow incurred the wrath of an ancient Egyptian deity!
This one is an excellent episode because it's compact--well told, simply and underplayed. Unlike some Poirot stories, this one is far less fantastic--with Suchet playing a less cartoony and more realistic detective. Entertaining and well made.
The story begins with an excavation of an Egyptian tomb...and soon folks from the expedition begin dropping like flies. Poirot's job is to sift through all this and determine if some crime has occurred or if they've somehow incurred the wrath of an ancient Egyptian deity!
This one is an excellent episode because it's compact--well told, simply and underplayed. Unlike some Poirot stories, this one is far less fantastic--with Suchet playing a less cartoony and more realistic detective. Entertaining and well made.
The Eyes of Anubis.
rmax3048231 June 2014
Warning: Spoilers
Exceptional tale of the curse that accompanies the opening of a forbidden tomb in the Egyptian Valley of the Kings. First one guy dies of a heart attack, then another dies of septicemia, then a third young Yalie in New York shoots himself in the head, and so on. I love these tales, and for some reason Agatha Christie's exotic settings seemed to prompt a more engaging plot than usual. Maybe the pith helmets had something to do with it. There is some sort of rivalry between the Americans who are funding the project and represent the Metropolitan Museum of Art in New York and the Brits doing the supervision, who represent the British Museum.
The young fellow in New York, the one who offs himself after his return from Egypt, is described as an excellent golfer -- so he should never have killed himself. "Playing the golf is no reason NOT to commit suicide," observes Poirot, and Hastings replies, "You just don't understand golf." The suicide was squiring around a woman named Melanie Weiss, a cognomen that can be trotted backward into time until it turns into "Black White." The props are impressive. Egyptian art often is denigrated because, after all, the next big wash of sculpture and painting was Greek, with its sinuous beauty. But the Egyptians had their own appealing style. I'm no art historian but the Egyptians made what seem to me some of the finest cat statues in the world. (They referred to cats generically as "mau." I wonder where the name came from.) And the human statues were lifelike enough that individuals could be recognized and some of their physical quirks analyzed by pathologists. And those eyes! Those staring EYES! Anyway, they have more grace than some cubistic babe with one eye and three breasts.
And these archaeologists ought to be spanked, especially the head honcho who orders the sealed tomb smashed open. He's modeled after Lord Carnarvon and his sidekick, Howard Carter, who in 1922 opened the tomb of Tutankhamun, after which he died of a mosquito bite that led to blood poisoning that culminated in pneumonia. When they poked a hole through the entrance to King Tut's tomb, a whoosh of air blew out of it. That air was some three thousand years old and had been breathed by the Egyptians who built and decorated the tomb. Any information it contained -- pollen or bacteria -- were lost to science. The archaeologists then carted off most of the gold and treasure. Poirot himself brings back a cat statue that had been buried in the sarcophagus and gives it as a present to Miss Lemon. They couldn't do it today.
But that has nothing to do with Dame Agatha's story, which is tightly written and sensible. I'm beginning to figure out how Poirot solves his cases. One of the victims is invariably rich. All you have to do is trace the line of inheritance, sometimes through three or four parties, to find last in line for the pelf. Cui bono, as the lawyers say.
The young fellow in New York, the one who offs himself after his return from Egypt, is described as an excellent golfer -- so he should never have killed himself. "Playing the golf is no reason NOT to commit suicide," observes Poirot, and Hastings replies, "You just don't understand golf." The suicide was squiring around a woman named Melanie Weiss, a cognomen that can be trotted backward into time until it turns into "Black White." The props are impressive. Egyptian art often is denigrated because, after all, the next big wash of sculpture and painting was Greek, with its sinuous beauty. But the Egyptians had their own appealing style. I'm no art historian but the Egyptians made what seem to me some of the finest cat statues in the world. (They referred to cats generically as "mau." I wonder where the name came from.) And the human statues were lifelike enough that individuals could be recognized and some of their physical quirks analyzed by pathologists. And those eyes! Those staring EYES! Anyway, they have more grace than some cubistic babe with one eye and three breasts.
And these archaeologists ought to be spanked, especially the head honcho who orders the sealed tomb smashed open. He's modeled after Lord Carnarvon and his sidekick, Howard Carter, who in 1922 opened the tomb of Tutankhamun, after which he died of a mosquito bite that led to blood poisoning that culminated in pneumonia. When they poked a hole through the entrance to King Tut's tomb, a whoosh of air blew out of it. That air was some three thousand years old and had been breathed by the Egyptians who built and decorated the tomb. Any information it contained -- pollen or bacteria -- were lost to science. The archaeologists then carted off most of the gold and treasure. Poirot himself brings back a cat statue that had been buried in the sarcophagus and gives it as a present to Miss Lemon. They couldn't do it today.
But that has nothing to do with Dame Agatha's story, which is tightly written and sensible. I'm beginning to figure out how Poirot solves his cases. One of the victims is invariably rich. All you have to do is trace the line of inheritance, sometimes through three or four parties, to find last in line for the pelf. Cui bono, as the lawyers say.
Tomb diggers drop like flies
SimonJack14 February 2018
Warning: Spoilers
Hercule Poirot and Captain Hastings race off to Egypt to unravel a mystery of strange deaths in connection with a dig to uncover an ancient pharaoh's tomb. Hastings first returns from a vacation via a stop in New York where he finds a suicide in connection with the dig. Miss Lemon's latest fantasy is Tarot cards, which helps set the stage for "The Adventure of the Egyptian Tomb."
If all of this seems strange and disconnected, this episode has that feel to it. And, with the superstitions surrounding archeological digs, especially those in Egypt, this episode tailors the music to go along with some of Agatha Christie's plot that entices one along the lines of the occult. But, none of this fools Hercule Poirot (although, part of his game plan is to let on that he considers the occult a possibility). Still, Poirot says at one point, "The power of superstition is a power that is very great indeed." His reference was to the diabolical hold that superstitions might have on those who believe them.
Inspector Japp is missing from this episode of Hercule Poirot. Apparently, Scotland Yard wouldn't spring for the good inspector to take a trip to Egypt to help master sleuth Poirot in "The Adventure of the Egyptian Tomb." It does have a somewhat complex plot - and unlikely story. But then, that's what makes these mysteries so much fun - the fact that many of them are quite far out. This episode has deaths by various means of infection, injection and invention.
The usual small dose of clever or funny lines is very scant in this episode. Here are my favorite lines.
Hastings has given Poirot a background report on Rupert Bleibner, who committed suicide. He says, "Good golfer. Played off scratch." Poirot says, "Playing the good golf is no reason not to commit suicide, Hastings." And, Hastings replies, "You just don't understand golf, Poirot."
Poirot has to scramble (off camera) to go under a tent leaf before Dr. Ames sees him in his tent. Hastings has been running interference with Ames who is returning just as Poirot goes snooping. Poirot brushes himself off and says, "Hastings, the sand. It gets everywhere." Captain Hastings says, "Ames must think I'm a complete idiot. There's sand in Belgium, isn't there?" Poirot replies, "Not in Brussels, Hastings."
If all of this seems strange and disconnected, this episode has that feel to it. And, with the superstitions surrounding archeological digs, especially those in Egypt, this episode tailors the music to go along with some of Agatha Christie's plot that entices one along the lines of the occult. But, none of this fools Hercule Poirot (although, part of his game plan is to let on that he considers the occult a possibility). Still, Poirot says at one point, "The power of superstition is a power that is very great indeed." His reference was to the diabolical hold that superstitions might have on those who believe them.
Inspector Japp is missing from this episode of Hercule Poirot. Apparently, Scotland Yard wouldn't spring for the good inspector to take a trip to Egypt to help master sleuth Poirot in "The Adventure of the Egyptian Tomb." It does have a somewhat complex plot - and unlikely story. But then, that's what makes these mysteries so much fun - the fact that many of them are quite far out. This episode has deaths by various means of infection, injection and invention.
The usual small dose of clever or funny lines is very scant in this episode. Here are my favorite lines.
Hastings has given Poirot a background report on Rupert Bleibner, who committed suicide. He says, "Good golfer. Played off scratch." Poirot says, "Playing the good golf is no reason not to commit suicide, Hastings." And, Hastings replies, "You just don't understand golf, Poirot."
Poirot has to scramble (off camera) to go under a tent leaf before Dr. Ames sees him in his tent. Hastings has been running interference with Ames who is returning just as Poirot goes snooping. Poirot brushes himself off and says, "Hastings, the sand. It gets everywhere." Captain Hastings says, "Ames must think I'm a complete idiot. There's sand in Belgium, isn't there?" Poirot replies, "Not in Brussels, Hastings."
Excellent, creepy adaptation of Christie's short story.
jamesraeburn200311 August 2023
Warning: Spoilers
Eminent archaeologist Sir John Willard (played by Peter Reeves) dies of heart failure soon after opening the tomb of the ancient Egyptian pharaoh Men-her-Ra. The world press whip up a story about a curse on the tomb that will bring death to those who disturbed the pharaoh's resting place. Two more members of the expedition team meet their deaths: Felix Bleibner (played by Bill Bailey) from blood poisoning and his nephew, Rupert (played by Paul Birchard), commits suicide in the belief that he had leprosy. Lady Willard (played by Anna Cropper) calls in Hercule Poirot (played by David Suchet) to solve the mystery since her son Sir Guy Willard (played by Grant Thatcher) is determined to fly to Egypt and continue his late father's work. As a result she believes that he too will die. Poirot and Captain Hastings (played by Hugh Fraser) join the expedition team and arrive to be told that Henry Schneider (played by Oliver Pierre) has died as a result of tetanus poisoning; a fact confirmed by Dr Ames (played by Rolf Saxon). An Egyptian servant, Hassan, warns of evil being in the air and, that night, a sinister figure with the head of a dog: Anubis, the god of departing souls is spotted prowling around the camp site. After narrowly avoiding an attempt upon his own life, Poirot finally reveals the identity of a multiple murderer...
An excellent adaptation of Agatha Christie's short story from London Weekend Television who, without doubt, were among the best interpreters of her material. It has an authentic air of creepiness and the suggestion that a superstitious curse upon the troubled expedition team might be anything but superstition is well conveyed. This is achieved by Christopher Gunning's mood music, Norman Langley's photography and the use of close ups to highlight the sinister looking ancient Egyptian artefacts removed from the tomb - statues of ancient gods and animals - after each death. Captain Hastings is surprised to find that his old friend Poirot appears to be buying into the curse theory after Lady Willard apologises to him for being "very silly and superstitious". "I also believe in the force of superstition", he replies solemnly, "It is the greatest force the world has ever known". At the conclusion of the case, he presents his secretary Miss Lemon (played by Pauline Moran) with a statuette of a cat which he claims is from the tomb. She is mourning the death of he beloved pet cat, 'Catherine the Great', and he tells her to hold it in her hand when she is in bed at night and the spirit of her old friend will visit her. Hastings cannot believe he has convinced her to believe in all this "guff" and he replies "No, it is not guff my friend. It is the power of superstition which is very great indeed." In other words, it shows how a particularly devious murderer manipulated superstition around a mythical ancient Egyptian curse for his own ends and almost succeeded. The film is well directed by Peter Barber-Fleming and the acting is of a high standard throughout. Anna Cropper and Rolf Saxon are of exceptional note while Suchet remains the definitive Poirot. His regular co-stars Hugh Fraser and Pauline Moran are as impressive as ever.
An excellent adaptation of Agatha Christie's short story from London Weekend Television who, without doubt, were among the best interpreters of her material. It has an authentic air of creepiness and the suggestion that a superstitious curse upon the troubled expedition team might be anything but superstition is well conveyed. This is achieved by Christopher Gunning's mood music, Norman Langley's photography and the use of close ups to highlight the sinister looking ancient Egyptian artefacts removed from the tomb - statues of ancient gods and animals - after each death. Captain Hastings is surprised to find that his old friend Poirot appears to be buying into the curse theory after Lady Willard apologises to him for being "very silly and superstitious". "I also believe in the force of superstition", he replies solemnly, "It is the greatest force the world has ever known". At the conclusion of the case, he presents his secretary Miss Lemon (played by Pauline Moran) with a statuette of a cat which he claims is from the tomb. She is mourning the death of he beloved pet cat, 'Catherine the Great', and he tells her to hold it in her hand when she is in bed at night and the spirit of her old friend will visit her. Hastings cannot believe he has convinced her to believe in all this "guff" and he replies "No, it is not guff my friend. It is the power of superstition which is very great indeed." In other words, it shows how a particularly devious murderer manipulated superstition around a mythical ancient Egyptian curse for his own ends and almost succeeded. The film is well directed by Peter Barber-Fleming and the acting is of a high standard throughout. Anna Cropper and Rolf Saxon are of exceptional note while Suchet remains the definitive Poirot. His regular co-stars Hugh Fraser and Pauline Moran are as impressive as ever.
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