All posts by GGaurav

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About GGaurav

I am passionate about old movies, songs and trivia.

Appointment With Death (1988)

I have been an avid reader of Agatha Christie’s works and admire her style of writing, the plot development and suspense in most of them. It is difficult to guess the murderer till the very end and therein lies the success of her writing. The 2 most loved characters she created were Hercule Poirot and Miss Marple who feature in many novels and short stories doing what they do best – pursuing the culprit and solving the mystery.

Appointment With Death was first published in 1938. It may not be as famous as some other novels but nevertheless was a good mystery with all the usual elements. Not to forget the presence of Poirot who unmasks the murderer with his sleuthing skills. I came across this movie adaptation and decided to view and write about it. It stars Peter Ustinov as Poirot. The movie is produced and directed by Michael Winner. Is it a winner, lets see?


The Plot

The protagonist is Emily Boynton (Piper Laurie), a rich lady based in the United States. Emily’s husband is dead and the family lawyer Jefferson Cope (David Soul) is reading out the contents of the will to Emily. Apparently there are 2 wills under consideration. The first will makes Emily the sole beneficiary leaving nothing for her children. However the second (and last will) allocates a sum of 200,000 dollars to each beneficiary. Emily doesn’t care about the second will as that will involve sharing the money with her children. She has no intention of doing so.

Emily has a strong personality. She had been a wardress in a prison when she met her future husband Mr Boynton (who was the Governor). She worked for 14 years in the prison and knows a lot about crime and criminals. She likes to lord over people, have a hold over them and make them do as she wants. She tells Jefferson bluntly that she knows about a fraud committed by him and she is happy to inform the US Law Society which will destroy his career. Jefferson pleads her not to do that. She orders him to burn the second will, which he does having no choice. It is time to inform the children.

The children are called in and are shocked to hear that their mother is in full control of the family fortune. They will be entitled to the money but only upon her death.

Emily has 3 step children. The eldest is Lennox (Nicholas Guest), his wife is Nadine (Carrie Fischer). Then Raymond (John Terlesky) and Carol (Valerie Richards). Ginevra or Jinny (Amber Bezer) is her real daughter but she is treated the same as the others. The helpless children have no option but to accept the situation. Emily is satisfied.

Soon after, the family goes to visit Europe. They visit London, followed by Trieste in Italy.

Here we are introduced to other important characters in the story. Lady Westholme (Lauren Bacall) is an American woman who married a British man after meeting him on a ship. She acquired British citizenship after marriage and became a Member of Parliament (MP) after 10 years. Given her influential status, she tends to be bossy and have her way. With her is Miss Quinton (Hayley Mills), an archaeologist.

Dr Sarah King (Jenny Seagrove) has recently graduated and is a qualified doctor. She helps Emily when she stumbles during a sightseeing tour. Later in the story, Emily’s son Raymond falls in love with Sarah, to the obvious displeasure of his mother.

And finally Hercule Poirot who is taking a well deserved vacation. He is an old friend of Sarah King and both are surprised to see each other. It seems Poirot is always “well placed” to overhear some important pieces of conversation involving Emily which are going to be important as the story progresses. Particularly when her children are discussing the injustice done to them and how good it would be to get rid of her!

Jefferson, the lawyer makes an unscheduled appearance in Trieste. Emily is not happy at this development but her daughter in law Nadine is. Nadine is having an affair with Jefferson and is pleased to be closer to him. He gifts her a cigarette case with a message declaring their closeness. Obviously, this will cause hell if it gets revealed to Nadine’s husband Lennox or Emily.

The group boards a ship to go their next stop of Jaffa, Palestine (I guess Israel did not exist as an independent state when the book was published). On the ship, Emily and Jefferson have a decent talk. She knows of his affair with Nadine. He requests her to be considerate and give some money to the children. She mellows down a bit and invites him to join them for dinner that night.

At dinner, Emily makes a show of pouring wine for everyone. But her intention is to poison Jefferson by adding a high dose of her medicine digitalis in his wine glass. (Emily is shown consuming the medicine at the beginning of the movie and highlights that it is dangerous to exceed the dosage mentioned).

But Jefferson does not drink the wine. He is interrupted by Lennox who has found the cigarette case in his wife’s possessions. He confronts Jefferson and punches him as he is about to sip the wine. The glass falls down. A shrewd Poirot observes that the cockroaches under the table who “taste” the wine are dead. (Seriously, are there so many cockroaches on that ship??)

They arrive in the holy land (Jerusalem?). Colonel Carbury (John Gielgud), an acquaintance welcomes Poirot. A curious Poirot continues to observe the goings-on in the Boynton family. One night, Poirot sees Emily handing over money to an Arab for “getting the job done.” He wonders what this is about.

Raymond is getting closer to Sarah. At one point, Emily forbids Raymond to meet Sarah. Miffed by this ridiculous behaviour, Sarah approaches Emily and lectures her. Emily retorts vaguely, “I don’t forget anything, not an action, a name, a face.” Is this a warning? Does she know something from Sarah’s past?

The group continue their journey in Jerusalem and later in Qumran, which is an archaeological site. In Qumran, Emily, in a surprisingly good mood asks Raymond and Sarah to take a walk after lunch. She says the same to Lennox, Nadine and Jefferson, asking them to be mature and behave civilly. Carol is sent with Miss Quinton. Meanwhile Emily settles down outside her tent on a chair. She invites Lady Westholme to have a chat with her.

The group is surprised at Emily’s behaviour but proceed on the walk, away from the site. They return one after the other. In the evening, Sarah sees a servant trying to wake Emily who appears to be asleep. She rushes over to find her dead. Sarah assumes it is because of her heart condition.

But Poirot is not convinced. He deduces that Emily did not die of natural causes. Upon investigating, he finds that Sarah’s bottle of digitalis is empty, so is a syringe missing from her medical bag. He infers that Emily was injected a lethal dose of the medicine that caused her death.

He requests his friend Colonel Carbury to give him a couple of days to find the murderer. Obviously, it has to be someone from the group, and multiple people had motives to wish Emily was dead – the sooner the better.

So, who did it?

My Thoughts

The film pales in comparison to the book. The book gives a detailed background of all characters, particularly the Boyntons. Emily is portrayed as a tyrant who has a tight grip over her children. It is as if she is still running a prison and the children can hardly dare to think of freedom. In the movie, Emily is a forced evil character. The underlying state of intense tension between her and the children is missing. Overall, the characters are introduced poorly. The murder and its aftermath involving the investigation should be gripping but it fails to engage you. There are a few thrilling moments towards the end which includes another murder but that’s about it. The performances by the well known cast are less than impressive and the exotic locations also fail to match the mood of the novel.

Peter Ustinov’s Poirot doesn’t remind you of the character with its idiosyncrasies created by the writer. He is funny but appears bored and doesn’t add much to the lackluster proceedings.

This adaptation might work as a stand alone film but is not a treat for fans of Agatha Christie.

Lata Mangeshkar – Birthday Songs

Today is 28th September, and we are remembering Lata Mangeshkar on her birthday. But remembering would be a wrong word as I am sure there is hardly a day when we don’t hear her songs. It might be from the classic era – 50s and 60s or the 90s where she sang selectively but continued to deliver huge hits. It might be a film song or otherwise. As often repeated, there will be no one like Lataji again. Such is her influence.

Thinking about a theme is so difficult when it comes to such a great artist. I had written about 1 voice and 10 heroines earlier remembering the singer and some of the heroines she sang for. Today’s post is about birthday songs sang by Lataji. Birthdays are common situations in our movies and a perfect reason to place a song. While meant to be a cheerful occasion, we see the occasional twist, adding to the entertainment.


1) Song: Da Dir Daara…Meri Laadli
Film: Andaz (1949)
Credits: Majrooh Sultanpuri | Naushad | Lata Mangeshkar and Chorus

Starting with one of the very early songs of Lataji. This was her first collaboration with Naushad, with whom she had a long association till the 1990s. In the song, Raj Kapoor and Nargis are celebrating their daughter’s first birthday. Everything is fine till Dilip Kumar’s arrival which adds drama to the scene. Nargis pauses when she sees him but gains control and continues the song. Lataji’s voice sounded young but it had the range and throw that were going to become legendary soon.


2) Song: Ek Bewafa Se Pyaar Kiya
Film: Awara (1951)
Credits: Hasrat Jaipuri | Shankar Jaikishan | Lata Mangeshkar

Similar to Naushad, Lataji had a long association with Shankar Jaikishan, who gave her some of the best songs of her career. Not to forget Raj Kapoor’s legendary banner R.K. Films under which this film was made. In this scene, it is Nargis’s birthday and meant to be a happy occasion. But there is a twist before the song which reveals the harsh reality of her lover (Raj Kapoor). Her friend sings the song but it is a reflection of her troubled state of mind. What to say about Lataji’s singing – effortless and amazing breath control.


3) Song: Pawan Diwani
Film: Dr Vidya (1962)
Credits: Majrooh Sultanpuri | S. D. Burman | Lata Mangeshkar

It is Vyjayanti Mala’s onscreen birthday party. And her dance performance is the return gift for the assembled guests! Her performance is impeccable but Lataji’s divine singing displays her classical singing prowess. Definitely one of those songs which are a treat to the eyes and the ears in equal measure.


4) Song: Tumhe Aur Kya Doon Main
Film: Ayee Milan Ki Bela (1964)
Credits: Hasrat Jaipuri | Shankar Jaikishan | Lata Mangeshkar

Shankar Jaikishan once again, with their favourite Raag Bhairavi. And Lataji’s voice blending with Saira Banu’s screen presence takes it to another level. A melodious song celebrating the birthday of the 2 heroes – Rajendra Kumar and Dharmendra. She is wishing both of them but her heart is set on one of them!


5) Song: Kya Rang-e-Mehfil
Film: Dil Diya Dard Liya (1966)
Credits: Shakeel Badayuni | Naushad | Lata Mangeshkar and Chorus

A messy and forgettable film with great music. A different composition from Naushad and presented so brilliantly by Lataji. It is Shyama’s birthday celebration. Waheeda Rehman is requested or rather forced to showcase her singing skills in the party. She obliges by singing this enchanting number.


6) Song: Dulhan Ban Ke Aayi Umango Ki Shaam
Film: Saaz Aur Awaaz (1966)
Credits: Khumar Barabankvi | Naushad | Lata Mangeshkar

Another Naushad composition from another forgettable film from the 60s. But the songs were good like this number based on Raag Pilu. This time it is Saira Banu’s birthday. She arrives late and performs this song, thanking the guests and well wishers who have come to greet her. It has the Naushad stamp and Lataji delivers the intricate number convincingly.


7) Song: Aaj Hai 2 October Ka Din
Film: Parivaar (1967)
Credits: Gulshan Bawra | Kalyanji Anandji | Lata Mangeshkar and Chorus

Jeetendra and Nanda are celebrating their son’s birthday. What is special is it is 2nd of October which is the birthday of 2 great leaders – Mahatma Gandhi and Lal Bahadur Shastri. The lyrics describe both the personalities and wish the child to try and follow their paths.


8) Song: Badhai Ho Badhai
Film: Mere Munna (1967)
Credits: Qamar Jalalabadi | Kalyanji Anandji | Lata Mangeshkar

And finally a song sung by a child! Junior Mehmood sings the song with playback by Lataji. Seems it is Nutan and Rehman’s son’s birthday and Jr. Mehmood is wishing him by singing this delightful song. One of Lataji’s ability was to sound like the character she is singing for and does so here as well. Singing for a child and that too a boy with desirable results!


9) Song: Janam Din Aaya
Film: Baharon Ki Manzil (1968)
Credits: Majrooh Sultanpuri | Lamikant Pyarelal | Lata Mangeshkar and Chorus

This was a film with a different story line. Meena Kumari plays the role of a woman who has lost her memory for many years. This song celebrates the birthday of her daughter (from a small child to a grown up girl (played by Farida Jalal)). Lataji sang the most number of songs for the Laxmikant Pyarelal duo over more than 3 decades of their luminous career.


10) Song: Choron Ko Saare Nazar Aate Hai Chor
Film: Naya Zamana (1971)
Credits: Anand Bakshi | S. D. Burman | Lata Mangeshkar

And the final song in today’s list – not a happy song by any means. This is a situational song as per the demand of the movie. It is Hema Malini’s niece’s birthday. She has invited her “poor” friend Aruna Irani for the party. Aruna gets wrongly accused of stealing by Hema’s sister in law (Indrani Mukherjee) because she is not wealthy like the other guests. She is hurt by this behaviour but she doesn’t leave as she has promised to sing a song on this joyous occasion. She stays and entertains the affluent guests by singing this song sarcasm filled composition. Lataji brings out the emotions effectively – part hurt and part angry.

Jai Santoshi Maa (1975)

The year 1975 was a historical year for Hindi Cinema. This was the year that saw the release of Sholay which became a milestone for Indian cinema. Apart from Sholay, there were a host of movies from big banners, bigger stars and directors like Deewar, Dharmatma, Pratigya, Sanyasi, Khel Khel Mein, Chupke Chupke, Mili, Warrant and Amanush to name a few. But one film that stood out among all was Jai Santoshi Maa. In the era of the angry young man and changing values (?), this low budget mythological film caught the audience’s imagination and set the box office on fire. Its been 50 years since its release. So, I felt it was time to visit this movie and see what the fuss is about!


The Plot

Jai Santoshi Maa begins with a scene depicting Raksha Bandhan of the gods. Mansa is tying rakhi to her brother Lord Ganesha. His children request her to tie a rakhi but she refuses as she is not their sister. The children run to their father Lord Ganesha and wish (or demand) that he “arrange” a sister for them. His wives Riddhi and Siddhi are supportive of the demand.

Devarishi Narad (Mahipal) arrives and hears the conversation cum request. Narad also requests Ganesha to fulfil his sons’ wish. Lord Ganesha obliges and we see the arrival of his daughter or “Manaskanya”. She is named Santoshi Mata by Narad as someone who will bring happiness and satisfaction in one’s life.

The attention shifts from heaven to earth in Sonepur with the title song Main to aarti utaru re. The heroine Satyavati (Kanan Kaushal) is singing in the temple. She has only one wish from the goddess – a loving husband. Her father is Bharat Bhushan. His only wish is to get her married and be relieved of his responsibility.

While returning from the temple, her friends tease her about marriage. She runs and collides with a young man Birju/ Brij Ram (Ashish Kumar). Satyavati and Birju look at each other and there is an instant connect.

She leaves and he is left in thought. Birju is a singer from the neighbouring town of Mirpur. He roams all day, immersed in music. He is part of a big joint family. His mother is played by Leela Mishra. He has 6 brothers, the eldest being Daya Ram (Manher Desai), followed by Bhairav Ram (Rajan Haksar). All brothers are married. Their respective wives (played by Bela Bose and Asha Potdar) are not happy with Birju. He does not contribute anything while his brothers slog in the fields whole day.

Birju arrives in Sonepur for a festival. Satyavati recognises him as the same person she had collided with. She has not forgotten him. The priest welcomes him and requests him to sing a song in appreciation of Santoshi Maa. He sings Yahan wahan jahan tahan mat pucho kahan kahan hai Santoshi Maa describing that the goddess is everywhere.

After the song, Satyavati is pushed by her friends to compliment him but she mutters some appreciative words and runs away shyly. Outside, she is met by Banke (a dacoit), who tries to molest her. She shouts for help and Birju comes to her aid.

Banke and his band of dacoits are beaten by Birju. Satyavati is relieved and thanks him for his timely intervention. She notices he has got injured and brings him home. Her father is thankful to Birju. He enquires about Birju’s family.

Later, as he is leaving, Birju admits his love for Satyavati. Satyavati goes to the temple and prays to Santoshi Mata to fulfil her wish of getting married to Birju. If this happens, she will visit all temples of Santoshi Mata in different locations.

The match gets fixed, followed by marriage. The baraat arrives at Birju’s house. Satyavati’s sisters in law (bhabhis) have ensured that she will not feel welcome right from the start. After a couple of scripted “inauspicious” happenings, they taunt her by talking about her poverty. Satyavati is disturbed but Birju calms her down.

Birju’s mother tells his brothers to start taking him to the fields. Next day, a reluctant Birju does so. In a random moment, he runs away and comes to meet Satyavati. He says she had called him which is not the case! The eldest brother Daya Ram is amused by the behaviour of the newly weds but Bhairav Ram is not. Nor are their wives.

Satyvati tells Birju of her promise to Santoshi Mata. Accordingly, they go on a pilgrimage and visit her temples in multiple locations (considering the budget of the movie it is clear that the lead pair do not visit all the temples, most of their shots are shot in a studio and the editing “attempts” to make it look otherwise!)

Now is the time to introduce a twist as the newly weds cannot be allowed to remain happy. Devarishi Narad goes to meet the 3 goddesses Laxmi (Neelam), Parvati (Lata Arora) and Brahmani (Padma Rani). He tells them that the people on earth are singing praise of the goddess Santoshi Mata. They are miffed at hearing this. He further quotes the example of Satyavati, who is a param bhakta of only one goddess – Santoshi Mata. They are further annoyed when their husbands (Vishnu, Mahesh and Brahma) disguise as sadhus and visit Satyvati. Her bhabhis insult the sadhus but Satyavati offers them prasad in the form of gud and chana, and displays her devotion. It is time for the 3 goddesses to spice up the proceedings.

Satyavati notices that her husband is being fed leftovers by his bhabhis. Birju is incensed when he comes to know this. There is a strong altercation between the brothers. (Daya Ram is not at home). Bhairav Ram and the younger brothers insult Birju, calling him useless “(nikamma).” Birju decides to leave the house. He vows he will return only after he becomes a rich man and not live at the mercy of his brothers. He tells Satyavati to await his return and leaves abruptly. He starts his journey by getting on a boat.

Thanks to the conspiring goddesses, there is a storm and the boat capsizes. This time, the goddesses arrive in disguise in Birju’s house and inform that he got thrown off the boat and drowned. Birju’s mother and Dayaram are devastated to hear this. Satyavati refuses to accept he is dead. And indeed, Birju is alive. He was about to drown but Santoshi Maa saves him in time.

Birju is looking for means to earn money. He comes in contact with a rich man (jeweller) by helping him when he faints near a temple. The man employs him. Birju is a hard worker and impresses his employer. Again, due to the goddesses, he falls for the man’s daughter Geeta (Rajni Bala) and forgets about Satyavati and his family.

Satyavati’s hardships continue. The bhabhis treat her like a servant and give her hell. Satyavati’s father comes to meet her and take her with him. But she refuses, as she believes her husband is alive and will return one day. She attempts suicide but Narad saves her. He asks her to perform the Sola Shukrawar vrat and pray to Santoshi Mata.

Where will this lead to? Will Birju remember Satyavati? Will they reunite? And what is Santoshi Maa’s role when her devotees are suffering without losing their devotion?

The Music

The songs did well. Kavi Pradeep was the lyricist and C Arjun the music director. The female songs were sung by Usha Mangeshkar. The title song Main to aarti utaru re appears twice and has become one of the staple songs for Dandiya nights during the Navratri festival. The lyrics are simple and tune catchy. Then we have Karti hu tumhara vrat main sweekar karo maa and Madad karo Santoshi mata.

Yahan wahan jahan tahan also appears twice, once in Mahendra Kapoor’s voice and later by Pradeep. Manna Dey sings the sad song Mat ro aaj Radhike.

My Thoughts

The story unfolds in a predictable format. The reason why the goddesses keep testing Satyavati is not convincing. The film seems like a family drama or soap opera. It is a stretch to watch with things getting repetitive. The evil sisters in law are at their manipulative best and irritating. Same for Narad and the goddesses track. The colors are garish and the sets evidently low budget. Such mythological films would typically have some “miracle” scenes requiring special effects which are fun to watch. But here you hardly see such scenes, making it less engaging.

Anita Guha plays the role of Santoshi Maa. She doesn’t have much to do except getting angry and helping the characters when they are in need. The main leads Ashish Kumar and Kanan Kaushal look older for their roles. Ashish Kumar reminds you of a combination of Bharat Bhushan and Biswajeet. Rest of the supporting cast perform as required.

That brings me back to the question – what made the film click ? Was it mere devotion? Or was it a bit of a welcome change to see a different movie in the era of the angry young man? Or was it pure luck?

Whatever be the reason, the film created box office history. Unfortunately, the film’s producer Satram Rohra could not repeat the magic with later films like Nawab Sahib.