Featuring what is possibly the most bloated yet stacked cast of the year, the latest adaption of Agatha Christie’s “Murder on the Orient Express” had a lot to live up to, but director Kenneth Branagh is familiar with high expectations- cutting his teeth in the late 80’s and 90’s with Shakespeare’s Henry V, Hamlet and Much Ado About Nothing; Kenneth Branagh drew early comparisons to the late Laurence Olivier.
Since then, he has taken on far more mainstream directing roles in films such as Cinderella and Thor but has however maintained much of the same quality of skills within those pictures. As a result, the sight of Branagh taking on another piece of classical literature is welcoming, as well as being a pleasant sight to see him take on the lead role of famed international detective Hercule Poirot. A celebrated role where he must postpone his much-anticipated vacation to tie up loose ends from another case.However, on his way to England on the Orient Express, one of his fellow passengers is murdered, and Poirot’s skills are enlisted to solve the case.
Fortunately, once the cast assembles on the luxurious train, the movie settles into Christie’s plot, a deconstruction of a cycle of locked-door mysteries that enthralled readers 80 years ago. There’s an odious villain (played with surpassing skill by Johnny Depp), tight-lipped passengers with hidden pasts and secret relationships, and Poirot, fussing over his three-minute eggs and moustache brush.
Christie’s characters cover a broad social spectrum: European aristocrats, valets, secretaries, doctors, soldiers, even an Aryan supremacist- Although a modern remake calls for a slightly more diverse cast it also apparently calls for casual racism of the time. The cast is dazzling and Kenneth Branagh gives each of them their moment to shine, as they are interrogated one-by-one, Depp is oily gangster Samuel Ratchett, with intense eyes and a venomous overall appearance.
Also onboard: Mrs. Hubbard played by Michelle Pfeiffer, a man-hungry American divorcée and the only character in sensible shoes; MacQueen (Josh Gad), Ratchett’s secretary; Natalie Dragomiroff (Judi Dench), a Russian princess; Arbuthnot (Leslie Odom, Jr.), a surgeon and military veteran; governess Mary Debenham (Daisy Ridley); Pilar (Penélope Cruz), who calls herself a missionary; an Austrian professor (Willem Dafoe); and others who will be revealed as drunks, drug addicts and worse.
Cinematically, the film is stunning. Locations are colourful, train stations smoggy and bustling, the train set itself beautifully accurate and intricate. However, despite looking beautiful, some switches between shots are uncomfortably jarring and the CGI does not always look completely real.
The script does a great job of moving the characters around and getting them off the train to keep it visually entertaining, yet there weren’t many minor observations to be made to make the film worth watching or analysing twice.
In adapting a novel, one must decide how closely to stick to the book and how much creative license to take. Murder on the Orient Express takes a fair amount of creative license, by fleshing out the story and changing the tone, but keeps the central plot intact.
However, these added details work against the strengths of the novel. In spending so much time creating these new elements, the mystery is no longer the priority. Without enough attention, the central murder mystery becomes chaotic and murky. Despite these flaws, Murder on the Orient Express is a fun movie, albeit fun in a strange way for a mystery.
Yet, there’s no question having fresh eyes for a “who done it?” pushes up the satisfaction rate enormously and it’s a classy, riveting remake, and it will make you want to see even more adventures featuring this particular Poirot.
By Ashley Morris