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Poirot Hallowe'en Party (1989–2013) online

Poirot Hallowe'en Party (1989–2013) online
Original Title :
Halloweu0027en Party
Genre :
TV Episode / Crime / Drama / Mystery / Thriller
Year :
1989–2013
Directror :
Charlie Palmer
Cast :
David Suchet,Amelia Bullmore,Zoë Wanamaker
Writer :
Agatha Christie,Mark Gatiss
Type :
TV Episode
Time :
1h 29min
Rating :
7.9/10
Poirot Hallowe'en Party (1989–2013) online

During a village's Hallowe'en party, a young girl boasts of having witnessed a murder from years before. No one believes her tale until her body is found later on in the evening, drowned in the apple-bobbing bucket. Watch Now. Watch In HD. % % Watch Agatha Christie's Poirot Season 12 Episode 2 - Hallowe'en Party movie online. Watch Agatha Christie's Poirot Season 12 Episode 2 - Hallowe'en Party free movie online in HD quality. Watch similar movies. Agatha Christie's Poirot Season 12 Episode 1 - Three Act Tragedy. % Agatha Christie's Poirot Season 12 Episode 3 - Murder on the Orient Express. % Agatha Christie's Poirot Season 8 Episode 2 - Murder in Mesopotamia.

Hallowe'en Party (S12E2) During a village's Hallowe'en party, a young girl boasts of having witnessed a murder from years before. Previous Episode (S12E1). Agatha Christie's Poirot Cast. discover the person behind the actor. David Suchet as Hercule Poirot. Hugh Fraser as Captain Hastings. Philip Jackson as Chief Inspector Japp. Pauline Moran as Miss Lemon. Tvbox is similar to sites like Tubeplus, Fmovies, Project Free Tv and Primewire.

Agatha Christie: Poirot. Year: 1989 Seasons: 13 Episodes: 70 Subtitles: 73 Downloads: 10191. The cases of an eccentrically refined Belgian detective.

Agatha Christie's Poirot (1989) s12e02 - Hallowe'en Party Episode Script. SS is dedicated to The Simpsons and host to thousands of free TV show episode scripts and screencaps, cartoon framegrabs and movie scripts. Good night Fi. - Oh! Annie, will you be going to Bluebell tonight? - No, not tonight, I'm tired.

Poirot (also known as Agatha Christie's Poirot) is a British mystery drama television series that aired on ITV from 8 January 1989 to 13 November 2013. Initially produced by LWT, the series was later produced by ITV Studios. The series also aired on VisionTV in Canada and on PBS and A&E in the United States.

Episode 2 - Hallowe'en Party. Episode 4 - The Clocks. Watch Online and Download Full Your TV Shows, Movies, Animes. Actors Movies & TV Series.

Based on Agatha Christie's short stories, Hercule Poirot is a famous Belgian detective, who along with his faithful sidekick Capt. Hastings, always gets embroiled in a mystery. Title: Hallowe'en Party. Genre: Crime Drama Mystery Thriller. Air Date: 27 October 2010.

Agatha Christie's Belgian detective, Hercule Poirot lives in London with Captain Hastings. Together, they range about Europe encountering murder mysteries. The series has strong story lines, good production and acting, and an unmistakable flavor of the pre-war years. Season 1 Season 2 Season 3 Season 4 Season 5 Season 6 Season 7 Season 8 Season 9 Season 10 Season 11 Season 12 Season 13.

When Ariadne Oliver and her friend, Judith Butler, attend a children's Halloween party in the village of Woodleigh Common, a young girl named Joyce Reynolds boasts of having witnessed a murder from years before. Joyce's story is heard by all the party, including her strange brother Leopold, the impeccable hostess Rowena Drake, her bookish son Edmund, and the local Reverend Cottrell. Mrs Whittaker, the church organist, and Frances Drake, Rowena's feisty daughter, are dismissive of her story, but later that evening Joyce's lifeless body is discovered face-down in the apple-bobbing bucket. At Mrs Oliver's behest, Poirot travels down to Woodleigh Common to investigate the murder. Although the local police and Joyce's stepmother dismiss the dead girl's claim, Poirot takes Joyce's story seriously. Mrs Goodbody, a gossiping charwoman, tells Poirot there have been a number of suspicious deaths in the village in recent years which Joyce could indeed have witnessed, and that old curses still ...
Episode cast overview, first billed only:
David Suchet David Suchet - Hercule Poirot
Amelia Bullmore Amelia Bullmore - Judith Butler
Zoë Wanamaker Zoë Wanamaker - Ariadne Oliver
Deborah Findlay Deborah Findlay - Rowena Drake
Mary Higgins Mary Higgins - Miranda Butler
Sophie Thompson Sophie Thompson - Mrs Reynolds
Georgia King Georgia King - Frances Drake
Ian Hallard Ian Hallard - Edmund Drake
Timothy West Timothy West - Reverend Cottrell
Fenella Woolgar Fenella Woolgar - Miss Whittaker
Macy Nyman Macy Nyman - Joyce Reynolds
Richard Breislin Richard Breislin - Leopold Reynolds
David Yelland David Yelland - George
Paola Dionisotti Paola Dionisotti - Mrs Goodbody
Julian Rhind-Tutt Julian Rhind-Tutt - Michael Garfield

Fenella Woolgar, who plays Miss Whittaker in this episode, once also played Agatha Christie herself in an episode of "Doctor Who".

The soundtrack music over the closing credits is an arrangement of the Poirot theme incorporating a violin line strongly reminiscent of Saint-Saëns' 'Danse Macabre', which viewers may recognize as also being the theme music used for the series Jonathan Creek (1997).

This was Eric Sykes' last TV appearance.

Phyllida Law and her daughter Sophie Thompson (the mother and sister, respectively, of Emma Thompson) appear together as Mrs. Llewelllyn-Smythe and Mrs. Reynolds.

Guy Fawkes Day, which Michael refers to, is an English patriotic semi-holiday, that can be compared to the American Fourth of July. It is celebrated on November 5 with bonfires and fireworks.


User reviews

Maman

Maman

"Hallowe'en Party", published in 1969, is a later Christie. Dame Agatha was no longer in her prime, but I think this book proved that she was by no means exhausted of ideas. The basic plot set-up is this: at a Hallowe'en party for children, Joyce Reynolds boasts to Mrs. Oliver, there on a visit, that she saw a murder once. Joyce is a compulsive liar, and everyone has great fun mocking her story. Frustrated, Joyce insists that her story is true, but refuses to give any more details. When the party is finished, she is discovered drowned in an apple-bobbing tub.

I've always been simply fascinated with that idea for a story— it must be one of my very favourites in all detection. The story itself is very good (and the solution is pretty decent as well), but it tended to ramble somewhat, and the middle section is extremely slow. It makes me wish AC had tackled the story when she was a bit younger. Nonetheless, my fascination with a story of such a haunting nature is enough to make Hallowe'en Party one of my favourite Christies. Was it among her best? By no means— but it was still quite enjoyable for me to read.

I was ecstatic when "Hallowe'en Party" was announced as part of season 12 (after false reports that it was going to conclude season 11). At long last, I would get to see this fascinating story translated to the screen! I was then even more excited when it was announced that Mark Gatiss, who wrote the brilliant script of "Cat Among the Pigeons", was going to adapt the story for television! Stephen Churchett would not be available to make the victim a teenage boy stabbed with a carving knife while making a jack-o'lantern. So my expectations and hopes were very high. My friends, it did not disappoint in the least.

I will tackle the issue of casting first. Julian Rhind-Tutt plays Michael Garfield. He was already in Marple as Dr. Calgary in "Ordeal by Innocence", but thanks to the magic of makeup, he is rendered almost unrecognizable in this role. He is perfect as an artistic gardener with an obsession for beauty. Zoe Wanamaker, as always, was wonderful as Mrs. Oliver. When asked why she made her detective a Finn, she sighs and says "I've often wondered myself." The way she delivers that line is simply perfect— I could practically hear AC sighing along with her in sympathy. There are a few scenes here where she discusses her writing, and they are priceless.

The adaptation makes an exciting discovery with the casting of Miranda Butler. A young actress you've never heard of (since this is her first role), Mary Higgins (no relation to Clark as far as I know), plays the role of the nymph-like Miranda, who is nearly always sitting in the garden. Higgins is great! A very beautiful young girl, she does not embellish nor does she underplay her character's distinct oddness and charm. She is very convincing, and brought the character to life. This truly is a smashing debut, and I hope she will continue in acting.

On to other things. We've become accustomed to episodes lately introducing homosexual subplots, incest, alcoholism— elements that did not appear in Christie's original oeuvre, which are often frighteningly overplayed or just plain silly. "Hallowe'en Party" hinted at a lesbian subplot, and, in fact, it is the only time the word "lesbian" appears in a Christie. Thank God for Mark Gatiss. He is no Stephen Churchett, who would've taken that one word and run away with the subplot, adding his own flourishes, all in the name of artistic license and bringing the stories "up to date". Gatiss keeps the subplot the way it was: SUBTLE. He uses small touches— little gestures, things people say, and so forth. The actors cooperate with the script and the result is a beautiful, truly touching underlying story.

Gatiss does take liberties with the story— he is creating a movie, not a museum piece. Rowena Drake, for instance, is made into a mother, with a smarmy little mummy's boy and a rather wretched, horrid daughter. (There are other words that jump to mind, but none are very polite.) His changes only serve to make the story more interesting—he eliminates the static "Question & Answer Session" feeling of the second act. His touches are intriguing, as the whole thing becomes something like a Gothic ghost story.

One of the best moves the series ever made was ditching the old formula with Japp, Hastings, & Co. Gone are the moments of forced attempts at humour, gone are the far-fetched ways of involving his friends in every case. (I can just imagine, under the old formula, Japp hiding in a suitcase on the Orient Express, and emerging when the murder is discovered, only to exclaim "Poirot! What the devil are you doing here?") The series feels more like the later, darker Poirot, and this tone suits "Hallowe'en Party" perfectly.

The formulaic music was also scrapped, and different music is composed for different episodes. But this episode here has an almost ghostly take on a familiar tune, heard a few times. You will also hear the children chanting a rhyme when playing snapdragon. This rhyme is also repeated as part of the music, faintly chattered and echoing, which really makes it bone-chilling. It is one of the most effectively-scored episodes I've seen thus far.

So in conclusion, unless the series totally bombed MOTOE, which I somewhat doubt, this entire season has been of excellent quality, the best we've had since the "Death on the Nile" series.
Huston

Huston

I watched this adaptation last night and overall I was very impressed. Overall Agatha Christie Poirot is an adeptly made, classy and well acted series, and I have several favourites especially Five Little Pigs, Sad Cypress and After the Funeral. They have also had some misses such as Cards on the Table(actually very good until the last 30 minutes), The Murder of Roger Ackroyd(disappointing compared to the masterpiece that is the book) and Taken at the Flood(like Cards on the Table the ending completely let it down). Despite this, the series has more hits than misses, and fortunately Halloween Party is one of the hits.

The book is very good. More than one person on IMDb and outside of it remarked that it plods in the middle, that I agree with, but it has an intriguing story and memorable characters. This adaptation is very well done and one of my favourite recent Poirots actually. There are liberties taken of course, that I have no problems with, and these changes don't harm the story at all really. The story as to speak is just as riveting and intriguing as the book and is briskly paced. The adaptation also benefits from being well directed by Charles Palmer, and Mark Gatiss's script is very credible. I especially liked it when Poirot complains about his feet hurting and Ariadne goes on at him at wearing sensible shoes.

Halloween Party also has some beautiful production values. There are some atmospheric dark moments especially the beginning which was wonderful and some lovely autumnal ones. The photography is fluid, and the scenery and costumes are as always exquisite. The music is excellent too, simple yet hypnotic and effective. Then there is the acting which is superb. Mary Higgins was a good choice for Miranda and plays her well, while Julian Rhind-Tutt, Deborah Findley, Timothy West and Sophie Thompson are all excellent. Predictably, the best of the bunch are David Suchet who is outstanding once again as Poirot and Zoe Wannamaker who is a breath of fresh air as Ariadne.

All in all, very well done and actually one of my favourites. 9/10 Bethany Cox
Murn

Murn

Like other Poirot (Suchet) productions, this has a childhood theme at the beginning, but this time the accompanying intense creepy music and quick editing make sense because it's a Halloween party. It's especially effective as the children engage in an old party ritual which is more alien than nostalgic. A particularly shocking murder occurs (one not seen elsewhere in the series). Poirot's author friend (Zoe Wanamaker) is there, possibly just as contrivance to get Poirot into the picture, because after she calls him to investigate, she's sick in bed. Poirot is in most of the movie, unlike some of the later movie-episodes where he mainly observes.

One is struck immediately by the art direction which never lets up - rich colors, lighting, and gardens, interesting camera angles, fish-eye close ups. But rather than being able to savor this, the movie moves very swiftly, and both the artiness and the plot flow over you without lingering for emphasis. A small example, you notice Poirot rearranging (in his obsessive manner) a few items on the family lawyer's desk. As it's not key to solving the crime (as in another episode), it could have been played up for slight humorous effect but the scene runs past it.

The mystery itself is somewhat typical of Poirot mysteries, which isn't a bad thing - family infighting, contested inheritance, hidden identities, along with Poirot's grammar problems, being insulted, etc. In his climactic expose, Poirot reveals more shocking skeletons-in-closets than usual, and so completely out of left field that the audience shouldn't waste time trying to solve this mystery, just enjoy the show. For that reason, as well as the fast pace, the plot isn't too memorable. And while the self-consciously beautiful cinematography can be distracting, perhaps beauty was emphasized because it's the murderer's main motivation.

Critique aside, I can see this becoming one of the more highly regarded of the later Poirot episodes. 2 thumbs up.
Mejora

Mejora

Ariadne Oliver attends a Children's Halloween Party put on by Mrs Rowena Drake, during a game of snapdragon young Joyce Reynolds is drowned in the bobbing apple basin. Joyce had earlier stated in front of a room full of people that she had witnessed a murder. Ariadne calls in Poirot to solve the crime.

Absolutely spot on production, Hallowe'en Party is one of the best in the series, Mark Gatiss knows how to spin a good old horror yarn. He was the perfect person to do this episode, touches of humour work well against the macabre. Slick and interesting camera work, I love the night time shots, they work perfectly.

One of the later stories Dame Agatha wrote, I like the book, but I'd go so far as to say I prefer the TV adaptation. It is beautifully shot, the accompanying score works terrifically well. The story is engaging, and yet tragic, the death of one child in a show is tough, but two.

Wonderfully acted, Suchet is at his best, particularly in the summing up of the case, it's just flawless. Zoe Wanamaker has by now made the part of Ariadne Oliver her own, always with a slight twinkle in the eye. Julian Rhind Tutt is a tremendous actor, I could watch him for hours, he is so charismatic and fascinating to watch, he gave Garfield the necessary coldness, his scene where he's about to sacrifice Miranda is perhaps my favourite part, so dark. A mention for the glorious Paola Dionisotti and Fenella Woolgar, fabulous, and also for the utter brilliance of Deborah Findlay, she is an actress of formidable talent, hugely underrated, perfect for the part of Rowena Drake, class!

These later Poirot's were much more serious in tone, and this is one of the finest examples. outstanding. Great watch on a late stormy night. 10/10
Kit

Kit

'Halloween Party' is one of the later Christie novels that I really enjoy whilst still acknowledging its many faults. In many ways the mystery itself is unsatisfying, unconvincing and (at the end) hopelessly melodramatic BUT it does contain some of Christie's most fascinating characters and the initial idea of murder at a children's party (and of a child at that) is almost shocking in its boldness.

Writer Mark Gatiss has produced another superb Christie adaptation here - staying pretty faithful to the source material but also improving it where necessary. The atmosphere is superb - at the party, in the village and in the beautiful but eerie gardens that play such a large role in the plot. As always, period details and costumes are fantastic. As well as David Suchet's definitive Poirot, we also see the return of Zoe Wanamaker's equally definitive Ariadne Oliver - thank goodness there are still two of her stories still to film! The rest of the cast are pretty much bang on character. I was very impressed with Deborah Findlay in the important role of Mrs Drake and I am always pleasantly surprised at how good Julian Rhind-Tutt is in a (fairly) serious role. Amelia Bulmore is good in the central (if slightly dull) role of Judith and they did amazingly well with the casting of Mary Higgins as a suitably ethereal and innocent (yet old for her years) Miranda. I also very much liked Fenella Woolgar as a deeply sympathetic Miss Whittaker.

This was the highlight of season 12 of Poirot for me and one I have watched several times.
Kriau

Kriau

The movie is simply great. The actors played the complicated roles very well, I especially admired -I won't say whom because it gives away too much plot- as the cold-blooded murderers who are, though, not incapable of human feelings. The plot was almost the same as in the book - with just some minor characters such as Ann Reynolds missing or replaced.

But I will not recommend watching this if you want a peaceful sleep at night! Actually, that's why I rated the movie 9 and not 10: all the light humor (such as Mrs. Oliver's remark "Blame it all on me!") has been cut off, so only the thrilling but horrifying and depressing mystery remains. Even though I read the book before watching the movie, I couldn't sleep after it!

Apart from the lack of lightness and ease, the movie is great. Until the scene where the girl Miranda narrowly escapes from death, you would never guess who are the murderers - and what actually led Miranda's best friend Joyce to being killed! The characters and their psychological conflicts are shown in an excellent way, and you will not get bored.
Zololmaran

Zololmaran

This is again an 89 minute episode (at least on the UK edition of the 12th Season).

Less thrilling than "The Clocks", it still holds up the pace.

It is simply a Halloween Story. In more ways than one. It opens during a small gathering of children on Halloween playing in a house chaperoned by practically all the adults involved in the story, except one.

During this Party someone dies, having just revealed to have seen a murder happen, that at first did not seem one. No one believes the story, except the murderer himself, hence the first victim.

Poirot gets summoned by his close friend and writer Ariadne Oliver (well played by Zoe Wanamaker) to find out who hides behind this murder.

While doing so, Poirot experiences other mysterious deaths on the grounds where he is investigating.

What really happened that night? Why had someone to die, that no one believed anyway? Why must others die as well?

As Poirot points out: "In my Country we don't make a mockery out of the dead, but light candles to them". This would seem the destiny of many characters in this story, but Poirot's gray cells, once again prove infallible and manage to solve a tragic chain of events...

Another rather dark episode, without a true happy ending, but life seldom has happy endings in store, when murders are committed...

Still a very entertaining and gripping Agatha Christie's adaptation, and David Suchet to crown it all.
inetserfer

inetserfer

I admit, it took me a while to warm up to David Suchet as Poirot. For all time, my favorite Poirot films will be Finney's Murder on the Orient Express, Ustinov's Death on the Nile, and Ustinov's Evil Under the Sun. But Suchet has certainly shaped his own interpretation of Poirot with integrity and consistency. Usually, he's a pleasure to watch.

Hallowe'en Party really surprised me; it has become one of my very favorite Poirot films. It certainly is the best at making use of the wonderful Zoe Wanamaker as Ariadne Oliver. She is at her funniest in this film, and I enjoyed watching her tussle with a new Sven Hjerson novel--one where he solves a murder while on a hot air balloon over Abyssinia. I'm not sure why I love this story so much. I usually prefer those in exotic locations, with glamorous figures, and this has neither. But it DOES have all the things that make for a great murder mystery--wonderful back stories that all become relevant in time; eerie, slightly grotesque murders; good, solid red herrings; strong motives; well-rounded characters; a wonderful, satisfying scene of unmasking the killer; and clever use of sound and mise-en- scene.

The film manages to make a rather parochial setting exciting and chock full of sin and lust. I was able to solve it, but didn't find the solution particularly easy or obvious. I would highly recommend it, especially for Ariadne Oliver lovers.
Iesha

Iesha

Lately we've been used to seeing some Agatha Christie adaptations which take her titles, her name, and then completely alter the stories. Thankfully "Hallowe'en Party" isn't one of them. Starring the wonderful David Suchet as Poirot, a role he has been playing for 22 years, how can it miss? Also in the cast are Zoe Wannamaker as Ariadne Oliver, brilliant as ever, as well as Julian Rhind-Tutt, Deborah Findlay and Mary Higgins.

In typical Christie fashion, the story starts innocently enough at a children's Halloween party where one little girl, Joyce Reynolds, announces that she once saw a murder, but at the time, didn't realize that's what she was seeing. Joyce is known to be a big liar, so no one pays much attention...until she winds up dead. Ariadne calls her friend Poirot to look into the matter. He starts by looking into deaths that have taken place in the last five years and finds three that fit the bill. Before he is very far into his investigation, however, there is another death.

A truly excellent story with lots of twists and turns and highly recommended to Christie fans, especially those put off by the Australian Miss Marples!
Ionzar

Ionzar

The quality of the Poirot series lately has been very iffy, but "Hallowe'en Party" is a grand return to form.

Zoe Wannamaker on hand as Mrs. Oliver is always a good thing, and the story (set by Christie contemporaneously in mid 1960s) fits perfectly in the late 1930s setting of the series, thanks to Mark Gatiss' excellent screenplay. With a creepy ambiance from the get-go, Charles Palmer's direction is tight and moody. Sophie Thompson, Fenella Woolgar, Macy Neiman, Ian Hallard, Paola Dionisotti, and Deborah Findlay are all excellent.

I thought this was a much better take than the more-hyped "Murder on the Orient Express."
Asher

Asher

"Halloween Party" plays like a horror entry in the Poirot series, not just because of the seasonal theme, the dark and stormy nights, or the atmospheric direction, but also because Agatha Christie's story captures something sick and disturbing - a complete disregard for human life on the part of the killers. Speaking of the killers, I was slightly disappointed that one of them was revealed BEFORE the customary scene where Poirot gathers all the suspects in one room and reveals the whole truth. I also thought that Ariadne Oliver was underused in this episode; she spends most of it bed-ridden with a cold, and contributes little to the solution. But there is also some clever stuff here (the whole business with the vase, for example), and even a rare action-hero bit for Poirot! As a trivia note, how cool it must have been (for actress Fenella Woolgar) to play both Agatha Christie herself (in the Doctor Who episode "The Unicorn And The Wasp" - a must-see for fans of the author, by the way) AND a fictional character she created within two years! *** out of 4.
Shadowbourne

Shadowbourne

What a joy it was to find out that we were going to get 3 new Poirots this summer (where I live in the US, at least). I just finished watching the third one, and they did not disappoint. There was plenty of what I love about them: intricate plots, beautiful cinematography, and superb acting. Hallowe'en Party is, in my opinion, one of the better recent Poirot adaptations. Much better than the dreary MOTOE, for example. The story moves along nicely, and the whole thing is visually appealing. Once again the acting is wonderful; Suchet is spot on, as always. I thought the solution was a bit complex; how Poirot was supposed to figure all that out with the facts he had is beyond me, but it's fun watching him get there nonetheless. So, except for some totally superfluous sermonizing by the gay character, HP was a pleasure to watch.
Nirad

Nirad

I rather enjoyed this typical Poirot production. From time to time, Agatha Christie would build a story around a holiday such as Christmas. This one is a macabre tale of Halloween. A group of ladies in Woodley Common are hosting a Halloween party in which the children are costumed and one of the young girls keeps piping up about a murder she witnessed, though she didn't know it was a murder at the time.

This was a bad idea. She's found to have been drowned in an apple-bobbing bucket while the other children were playing a game called Snapdragon, whatever that is.

Poirot is called in and some common elements float to the surface. There is a forged will, a poisoned old lady, a half-loony village gossip, a lesbian relationship (well, that's not exactly "common"), an exploitative hunky male, a stabbing, a body buried in the exquisitely sculpted garden, a beautiful teen-aged girl urged to drink poison in honor of beauty, blackmail, jack o' lanterns, expensive wrist watches, peeking, spying, and eavesdropping, another stabbing, an age-discrepant love affair, Poirot's mustache, his gathering the guests together and saying, "All will be explained," and other prerequisites of a decent mystery.

Aside from the plot, what I found most impressive was that garden. You've never seen one like it, a kind of knee-high maze, studded with bunches of pale flowers, and hedges trimmed in the shape of cones. It reminded me a small and secluded space in Golden Gate Park in San Francisco, called The Shakespeare Garden, where specimens of all the herbs mentioned in WS's plays are inconspicuously grown. Every Sunday a handful of people bring prepared lunches there. That's neither here nor there, but I do think the garden adds to the generally mysterious and somewhat spooky atmosphere of the tale.
Kieel

Kieel

Mark Gatiss, who already contributed his adaptation of "Cat Among The Pigeons" to the Poirot series in 2008, has somehow managed to streamline Christie's "Hallowe'en Party" (which in original is a rather meandering and often plodding novel) into a reasonably entertaining, if perhaps slightly rushed televisual ninety minutes. Other aspects of the production reveal a more or less settled Poirot routine, with two notable exceptions - the music, which is unusually bland for the most part, and the casting which is somewhat uneven: apart from Suchet and Wanamaker who glide through their roles as one would expect them to, there are also fine performances here to be seen from Deborah Findlay as well as the underused Sophie Thompson, but Julian Rhind-Tutt and Mary Higgins appear miscast as the pivotal, elaborate characters of Michael Garfield and the girl Miranda - certainly the weaker links in the ensemble. The producers have also invested a great deal of effort into masking some obvious corner-cutting here and there - or is it all just a slightly subdued introduction to the big finale, "Murder on the Orient Express"? We shall soon see. In any case, this mildly atmospheric little piece is enjoyable enough as a Poirot episode, but probably not one of the highlights of the series.
Madis

Madis

Despite the rather pathetic screenplay in this TV version, Agatha Christie's original story is so riveting that even Mark Gatiss was unable to ruin it. Nevertheless, when one thinks of the potential that is latent in such a brilliant cast and such a powerful and perfectly structured drama, it is a crying shame that the scriptwriter failed to honour the memory of the book's author. I was particularly disappointed by the jarring inclusion of a cameo homosexual relationship into the plot ; it was so obviously NOT a part of the dramatic build-up of the story that one almost had the impression of the screenwriter taking us aside and whispering, "Just look how noble and virtuous and persecuted these people are," rather like a TV commercial, and with just about as much relevance to the mystery.

I would recommend the film despite the criticism : it remains in essence a typically wonderful Christie whodunnit ; the acting is superb and the direction also excellent. But I'll be the first customer for the next version of this great book ; a film classic this one certainly ain't.
Mohn

Mohn

"Halloween Party" does what the better of the late Poirots do best, i.e., have lovely production values, and making them watchable for costumes alone. Then they throw in a few familiar names from the old school (here, Eric Sykes and Timothy West, among others) and mix them with younger names (Sophie Thompson and Julian Rhind-Tutt), and a few up-and-comers.

And like all later Poirots, this one has been changed, but not as egregiously as some ("Murder on the Orient Express" where an odious murderer is murdered, but has all the joie de vivre sucked out of it; "The Big Four" has another story altogether, making a travesty of an admittedly difficult book to adapt; and others, that change who the murderer is!--no spoilers for that here).

One change from the book was a wise move on the part of the original producers, to set all the books in the 1930s. After all, Poirot was retired with his first case, set during the Great War. Even if, like Sherlock Holmes, he retired in his early 50s, he would have been more than 100 years old by the 1960s, when this book was penned.

Other changes from the book were necessary, such as the reduction of characters, and minor alterations for modern sensibilities. After all, the book involves the murders of children (in the book, one is nearly killed a pagan altar, though that was changed here perhaps to keep from offending neo-pagans).

The film, like the book, is set in a village which, despite its size, has had an inordinate amount of murders. At the behest of Ariadne Oliver (a thinly-disguised self-portrait of Christie herself, down to her affection for apples), Poirot sniffs around to find skeletons in closets and uncover buried secrets (literally), and blackmail. Some events in the story are unfortunately shifted around, perhaps unnecessarily so, as the writers smugly pretend to show how much smarter they are than Dame Agatha. Nevertheless, she wrote the book and they're riding on her coattails.

A late Poirot worth watching for the garden alone, though I enjoyed the Halloween customs at the atmospheric party.

By the way, Dame Agatha dedicated this book, despite its horrific contents, to a fellow writer of the time she much enjoyed, humorist P. G. Wodehouse.
Ariurin

Ariurin

This addition to the excellent Poirot series easily made it into my top 5, and there's more than one reason to it. The story itself is multiple-layered and filled with colorful characters hiding dark secrets.

Once again, we have a countryside village where the neat cottages and gardens hide hideous cruelty which looms behind the facades. The inherent gloom of the place is further underlined by the production design that created the perfect setting for a Halloween story, with stormy weather, witches, jack-o-lantern's and horror stories. The house of madam Drake is the setting of a children's Halloween party attended both by kids indulging in games, their parents and Poirot's partner in crime, Ariadne Oliver. One of the girls shares a story of having had witnessed a murder, and is subsequently found drowned in a tub. Poirot joins Oliver on a quest to solve the case and try to find a possible connection of several seemingly unconnected local disappearances and murders. Slowly, the web of deceit is untangled and the horrific truth is revealed.

What makes this episode such a success is also the musical score which provides a haunting backdrop to the nightly scenes and aesthetics that almost resemble Coppola's Dracula.The lush, beautiful garden is an another important element as it embodies an obsession with beauty strong enough to kill for, which is a great counterpart to the central plot of a murderous, scheming couple who's after a wealthy old woman's money. So in spite of the motif being one of the oldest in the book, the air of mystery, overall gloominess and some great supporting characters(Mrs Goodbody) redeem the film in the best of ways. I've seen it two times already, so it's definitely a recommendation-perfect for a dark winter night on your sofa with a blanket and a warm cup of cocoa.
Jieylau

Jieylau

"I saw a murder once" says a young girl at a Halloween party – a young girl, it must be said, who clearly has not watched her way through 12 seasons of Poirot in the last few years like I have, or else she would know that such a statement is clearly going to get the attention of someone in the room, and not in a good way. True enough, it is not long before the party is brought to an abrupt end when the child is found drowned in a bowl of water used for dunking for apples. In attendance at the party, Ariadne Oliver calls for her old friend Poirot, who comes to investigate. With little to go on at the crime scene, and the police looking for a random vagrant of some sort, Poirot starts with the most logical question – who could possibly be the victim and perpetrator of the murder that the child claimed to have witnessed?

Another seasonal outing for Poirot, this time screened in late October, nearly 11 months after the previous "episode". The opening did make me wonder if the "event" nature of it would overshadow the quality of the film as could be a risk, and seeing some familiar names in the credits did not dissuade me of this worry, along with the gaudy decorations. Actually though, it sets up an oddly dark story, which draws on the sense of evil being supernatural, but yet also perfectly human. The comedic air at the start gives way to a children's game (with musical chanting similar to that used in other episodes thus far) which is oddly creepy and leads to quite a disturbing death in that it is a child – I do not remember for sure, but I think this is the first in the series thus far. This murder is done in such a way that it opens up the story in the way fans of the series will recognize – that the motive is not just about that moment, but about the past, and thus Poirot has to dig back for skeletons to get to the truth. Although familiar as a device, this is done very well here and I enjoyed that I felt engaged with it throughout. Part of this was perhaps that the clues were a bit more obvious than usual (or I am used to their style?) so I did have my suspect for the second half, even though I was nowhere near the actual solution.

The solution comes and is satisfying enough, and well delivered even if the murderer is named and then broken down, which I find less dramatic than doing it the other way around. The production is very nicely mounted whether it be the party, the curiosities of the suspects, or the general production values of locations (some great ones) or the usual great attention to detail and class of delivery. The cast is led by Suchet on form as ever. Although Wanamaker is a good sidekick, she is mostly in her bed and sidelined here – not bringing a lot to the table. The guest cast are mostly very good, with some famous faces in there, and all doing enough to feed the mystery. The production values are as good as ever, and it even made the faux-eerie atmosphere work. All told an enjoyable outing, with a good base of clues and an engagingly delivered narrative, even if it is not without some weakness.
Kizshura

Kizshura

I have long been an Agatha Christie fan and have all of her books which I reread every decade or two. When I first starting reading her books I was reading a magazine article about Christie and her mysteries – the writer of the article revealed who the murderer was in "The Murder of Roger Ackroyd." I'm still steamed about that and that was fifty years ago. I recall reading Hallowe'en Party and remember being surprised that this Christie story included the murder of an ungainly 13-year-old girl. Having a child murdered is not a plot devise that I care for. At any rate, it soon becomes apparent that the girl is a liar and somewhat insufferable and blurts out at a Halloween party, that she has seen a murder, although at the time she didn't realize it was a murder. Unfortunately more murders follow and Poirot suddenly realizes a mistaken assumption that everyone has made – this little twist was very nicely done. David Suchet is so perfect as Poirot and Zoë Wanamaker as Ariadne Oliver was marvelous. As did another reviewer, I too was struck by the humor in her response to the question about why her detective was a Finn – "I often wonder that myself." The only jarring performance was that of Julian Rhind Tutt's – he was unconvincing and his long hair was off putting – it seems unlikely that in the 1930s even an "artistic" landscaper would have such a hair style. I could be wrong but it did not fit in with rest of the of the show's period setting. All in all, this is one of the sadder Christie stories.
Saimath

Saimath

During a children's Halloween party, a young girl makes the boastful claim of having seen a murder when she was much younger. No one really believes her – she has a habit of making things up. But when she turns up dead in the apple bobbing tub, it's too much of a coincidence for writer Ariadne Oliver. Before you can say "trick- or-treat", she's on the phone to old friend Hercule Poirot for help solving the mystery.

I think Hallowe'en Party might have been the first Agatha Christie book I ever read (it was either this or The ABC Murders), so it's always held a special place in my heart. I've always worried that this particular book might be difficult to film. Fortunately, Director ___ and team got most of it right. Sure, there are some interesting bits from the novel that didn't make it and some other changes to the original story, but there's enough of Christie's work here to make any fan happy. As you would expect by now with these Poirot movies, everything is just about perfect. Acting, sets, and locations are all top notch. The music and mood are appropriate. And the mystery, while involved, makes sense in the end. I had forgotten how gruesome some aspects of the story were, but I suppose that's always the case when you're talking about children being murdered.

However, there is one key aspect of Hallowe'en Party that particularly bothers me. I cannot stand the style in which much of the episode was filmed. It looks more like an episode of Law and Order with artsy camera angels, quick cuts, obtrusive lighting, and even some shaky camera than it does a period mystery/drama. What happened to just telling the story in a straight on fashion? Oh how I miss the episodes from the first half of the series. If the mystery in the second half of the movie hadn't been so interesting, I would rate this one much lower.
Efmprof

Efmprof

Hercule Poirot's friend, the crime novelist Ariadne Oliver, attends a Hallowe'en party in the country. At the party a young girl claims she once saw a murder. Nobody believes her but later that evening the girl is found murdered. Oliver suspects that the perpetrator of the murder the girl saw has murdered the girl and calls in Poirot.

Quite intriguing, though some parts of the plot are easy to figure out in advance. In addition, the ultimate chain of events seems a bit too fantastical and complex to be plausible. So you have a murder where unraveling the plot veers from easy to impossible. Not ideal, but it is still very entertaining.
Munimand

Munimand

Mark Gatiss brings some grisly macabre in this Halloween themed mystery. Gatiss who has also written and acted in Doctor Who slip some easter eggs in along with Director Charles Palmer who has also directed episodes of the sci fi show. Actress Fenella Woolgar played Agatha Christie in the Doctor Who episode The Unicorn and the Wasp.

In the Halloween Party the first murder victim is a child, who claimed to once seen a murder. She was dressed as a bee when her body is found later, drowned in the apple bobbing bucket.

Poirot is requested by writer Ariadne Oliver to investigate although the local plod is not happy with his interference. He looks at other recent deaths or disappearances but before long another body of a child is found.

The episode rather plods in the middle, by the end the death count rises considerably as Poirot reveals what has been taking place over the years. It does seem rather convoluted and far fetched.

The episode has a dark underlying theme, however Julian Rhind-Tutt's characterisation as the rather free spirited gardener just seems out of place.
Scream_I LOVE YOU

Scream_I LOVE YOU

Let me get this straight.

Rowena Drake falls in love with a gardener. Together they murder her husband, but pretend to dislike each other for several years afterwards.

In order to secure the inheritance of the house and garden, this odd couple kill the woman's aunt, her aunt's Au Pair and a man who they got to tamper with the aunt's will.

Two years pass and a child blurts out that she once witnessed a murder. Thinking this is probably the murder of the Au Pair, Rowena Drake drowns this pest (despite the fact that nobody actually believes her). She is caught in the act by the child's young brother who she first bribes then kills.

Eventually the gardener realises that the murder of the Au Pair was actually observed by another child and he attempts to murder her as well.

So: the woman loves the gardener, the gardener loves the garden and this motivates six murders and one attempted murder.

That Agatha Christie sure knew how to write them.
Macill

Macill

This story has many subjects of evil & secrets. At a Halloween party in the Drake house Joyce a young girl tells the guests she saw a murder when she was younger but that she never reported it because she did not understand that it was a "murder at the time". Joyce was known for telling stories that no one believed and she was disliked by her brother. Later she is found drowned in a tub of water used for bobbing apples at the party. Many are people murdered in this episode

Lots of tension, fighting and mystery going on. An adult brother and sister at odds with each other, young siblings dislike one another both end up dead.

Olga a woman from another country was to inherit the Smythe fortune. People think she went back to her country. A woman is/was having a affair with Michael the gardener. Human sacrifice is spoken of to a girl that is susceptible to the man who tells her if she dies others will live, suicide of a lesbian made to look normal by the female speaker "Beatrice could not reconcile her true nature" and a bunch of bull used to get sympathy for the female that loved Beatrice. Poirot does not say anything as this pompous woman speaks of her love for Beatrice. Poirot the "so called Catholic" that makes the sign of the Cross in other episodes says nothing. When does he ever not say nothing!??

Many of the people that go to church in this village are all hypocrites. This places Christians in a bad light but it also shows that those who say they are Christians do not live by the teachings of the Bible or have faith in Jesus.

In the end Poirot is in the garden where a body was buried. Guess what! He does the sign of the Cross and says "Halloween is a time to light a candle for the dead". I agree my birthday is on Halloween October 31st and I hate the celebration of Halloween. My faith is in my maker Jesus Christ and I thank Him for the blessings He has given me all my life especially my parents and children.
Unnis

Unnis

Another stinker. And it stinks because of the original story, and not due to any faults of adaptation. If anything, adaptation improves by more disciplined editing of loose ends, though not by much. Adaptation certainly makes it a bit scary (and entertaining) using commonplace horror movie tricks.

Basic storyline, as revealed at end, is extremely stupid. Cristie obviously liked convoluted contrived plots, but this is plain silly. To take the most obvious absurdity, why would murderers be in a clumsy hurry to kill in the middle of a party, in order to cover up a vague indefinite story that was not believed, when they wait and try other means with other witnesses/collaborators for days and months?

As usual Poirot pontificates at end, but fails to reveal any new evidence, he has discovered that would result in a conviction. Miranda's testimony about disposal of a buried body (which is withheld by her for no apparent reason even after her friend's death) and her own attempted murder, would certainly convict Garfield. But even Garfield's testimony (who is kept alive, unlike in novel, by adapters probably for this very purpose) would not be enough to convict Rowena Drake. All she and lawyers, have to do is to transfer all the charges Poirot/prosecution make against her to Miranda's mother. Given he was a lover of Miranda's mother, with possible interest to cover her, his testimony implicating Drake becomes worthless. After all, on one side there is only the quip (as Poirot quotes) that she "doth protest too much", on the other, there is a love child. Other evidence, if one can call it such, such as drenching of her dress, will not amount to anything in court.