“Would you mind if I join you? You’re the
world famous detective, Hercule Poirot. Avenger of the innocent. Is that what
they call you in the papers?” ~ Edward Ratchett
“And are you innocent?” ~
Hercule Poirot
“Some men have a good look. All they have
to do is keep their mouth shut and they can take home any prize they want.
Still the mouth opens.” ~ Mrs. Hubbard
“I’m sleeping here, where everyone can see
me, and where I can see everyone.” ~ Mary Debenham
“We’re surrounded by lies!” ~ Edward
Masterman
“And who are you?” ~ Gerhard Hardman
“I am
Hercule Poirot, and I am probably the greatest detective in the world.” ~
Poirot
Agatha Christie remains one of the
literature world’s leading lights in mystery fiction, with her works frequently
adapted for stage and screen. Her creations include the iconic Belgian
detective Hercule Poirot, who appeared in a wealth of stories that have
provided readers- and viewers- with suspenseful entertainment in a variety of
ways. One of her most acclaimed tales, Murder
On The Orient Express, has been previously adapted in film and on
television, pitting the detective into a case of a murder on the lavish title
train. It has now been adapted into a new film version by the actor and
director Kenneth Branagh, with an outstanding cast.
Poirot (Branagh), the esteemed and
eccentric detective, is looking to unwind and relax after a case in 1930s
Europe. This being a murder mystery story, unwinding and relaxing are not going
to happen, and he is summoned back to Europe on a case, boarding the Orient Express
to swiftly return. He meets a number of other passengers on board, each with
their own secrets and reasons for being on board. Some are wealthy and well
known, others are of more common stock. One of them, Edward Ratchett (Johnny
Depp), asks for his assistance, fearing for his own safety. Murder ensues, and
the detective finds himself caught up in the task of narrowing down suspects
and identifying the killer.
The screenplay comes from Michael Green,
adapting the original story by Christie. Green has been behind films like Logan, Blade Runner 2049, and Alien Covenant, and his screenplay
tweaks the story with some details- nationalities of certain characters, for
instance. But the screenplay follows the story’s methodical sifting through
secrets, the detective’s relentless pursuit of the truth, and the tension of a
situation where a murderer lingers among passengers on a train, marooned in
winter. I like that the story plays those secrets close to the vest, giving the
audience a chance to get used to the characters at a distance before murder and
mayhem bring everything in a different direction.
Branagh comes from a background in
Shakespeare on the stage, and he’s adapted several of the Bard’s works for film
(he’s just about the right age now for a cinematic Macbeth). That theatricality
shows itself in this film, with how he works with actors, how he stages the
action, and how he performs in the lead role himself. He has a great eye for
detail, which shows itself through the film- the luxury of the train is well
rendered, with its furnishings providing a lavish setting for those with money
to spare and a wish to be seen on one of the great symbols of class. Branagh’s
crew keeps that attention to detail in other ways, evoking the period through
costume and prop details; we feel like we’ve just stepped back in time and are
unseen passengers on board. And Branagh’s style as a director works well with
the material, slowly driving up the tension as things go along, with this
machine of luxury stranded in the wilderness- while a murderer lingers among
its passengers.
With a cast like this, part of the draw of
the movie is just watching them at play, and Branagh goes with a diverse
selection of fine actors, some of whom he has worked with before, others who
are new collaborators. Depp himself has spent the last few years known for bad
behavior and playing eccentrics to no end; here he plays the ill-fated Ratchett
in an understated way (understated for the actor, anyway). He’s anxious, but
tries to hide that behind a smarmy kind of charm, and his character is an
unpleasant man whose past carries many secrets and acts of criminality. The
actor plays off that well, and needs to play more subtle characters like this
for awhile rather than return to over the top mischief.
Derek Jacobi has been a frequent
collaborator with Branagh over the years, and this time plays a butler, Edward
Masterman, whose ties to others play out through the film. Judi Dench, another
occasional collaborator with Branagh, plays Princess Dragomiroff with an
occasionally arrogant quality that you might expect of royalty. Josh Gad turns
up as Ratchett’s assistant Hector MacQueen, turning out to be as corrupt as his
boss. Willem Dafoe, Penelope Cruz, Daisy Ridley, and Leslie Odom Jr. all turn
up as passengers- the professor, the missionary, the governess, and the doctor in that order- and suspects in ways that require them to play their emotions
and agendas hidden. This is true of the rest of the suspects. Michelle Pfeiffer
gets a lot to do as Mrs. Hubbard, the widow with her own reasons for being
aboard the train, a forceful personality as the story unfolds. She brings a sultry, cynical air to her performance.
Part of the fun of a murder mystery is
watching the detective prove how brilliant he is by unravelling the secrets and
circumstances of the murder, and Branagh has a lot of fun playing Poirot. The
character has been played before in film and television by actors like Albert
Finney, Alfred Molina, and David Suchet, and Branagh slips into the eccentric,
salty-mustached Belgian detective effortlessly. When we meet him, he’s eager
only for rest, but a man of his skills is never allowed to relax, and Branagh
plays off that sense of irritation early. He’s also a man of principle, finding
it distasteful to work in a bodyguard capacity for a career criminal, and yet
obliged to investigate the murder that ensues. Branagh’s take on the character
is a good one, a doggedly determined and brilliant mind that works to seek out
a solution, unearthing secrets as he goes along.
Murder
On The Orient Express turns out to be a good deal
of fun, watching an outstanding cast in a period film deal with a murder
mystery. One could watch a cast like this reading the phone book and still
enjoy it. It brings to life one of the genre’s great figures, as Poirot
confronts an enigmatic puzzle of a mystery, and sifts through its intricate
connections. Adding in a dash more action than the prim and proper Agatha might
have expected, the film is a fine lark built around blood and death- and proper
manners along the way.
