Le crime de l'Orient-Express

That Sidney Lumet knows how to frame an actor within his or her character is a very well known fact - "The Pawnbroker" "Network" "Dog Day Afternoon" and some other spectacular pieces of acting prove that point unquestionably. Here, there is a sort of "divertissment". Agatha Christie given a first class treatment (not that Margaret Rutherford as Miss Marple wasn't first class, but the production value here is as impressive as the cast) in the hands of Sidney Lumet who knew how to put a bunch of sensational actors in a confined space - "12 Angry Men" for instance and make it riveting. There a 12 Angry people here too and (almost) each part is cast with relish and delight. Albert Finney, marvelous, manages, not only to survive, under the weight of his characterization but to create something bold, exquisitely structured, great fun to watch and to hear. Ingrid Bergman won her third Oscar for her missionary looking after little brown babies - I thought she was a highlight indeed but in my modest opinion, Valentina Cortese for "Day For Night" deserved it that year, Anthony Perkins plays Norman Bates's twin brother, also with a mother fixation and a compelling facial tic. Wendy Hiller was, clearly, having a ball and that, on the screen, is always contagious. Sean Connery and Vanessa Redgrave make a surprisingly hot pair, Lauren Bacall over does it of course but who cares, Jacqueline Bisset is breathtaking, Rachel Roberts a hoot. John Gielgud is John Gielgud and that in itself is a major plus. Colin Blakely does wonders with his moment and Dennis Quilley plays his Italian as if this was a silent movie. Martin Balsam is always fun to watch, no matter the accent. Richard Widmark is splendid in his villainy and Jean Pierre Cassel very moving indeed. The only weak spot in the cast is Michael York. Totally unbelievable. I suspect that "Murder in The Orient Express" 33 years old already, will continue delighting audiences for years to come.

Spoilers. There is a delicious score, an elegant and whimsical 1936 waltz, on which during moments of suspense a bassoon plays comic variations. Nothing is to be taken seriously. Certainly not the story. The plot gives us incidents which are evidently red herrings designed to mislead Inspector Poirot but mislead the viewer as well. Why should "the clumsy cliché" of the smashed watch telling us the time of the murder be necessary? Because, says Poirot, it is supposed to lead him to believe the murder took place at an earlier hour than it did, an hour in which all the suspects had unshakable alibis. But if the suspects were in cahoots, couldn't they have improvised the same alibis for a later hour as well? After all, Poirot was asleep in his compartment, or at least trying to sleep, all night. And the lady in the white nightgown with the red dragons -- what was that about? It complicated the plot with an added detail but couldn't have confused Poirot much since it was of no relevance to his perception of what was going on.

The acting isn't meant to be taken seriously either. First, there is Albert Finney as Poirot, who looks absolutely great with every visible hair waxed to perfection, and an indefinable accent that wavers a bit from scene to scene, as if he were, as John Simon put it, "sending up trial Walloons." Everyone else overacts hammily (and enjoyably) too. Especially enjoyable is Sir John Gielgud as the batman or butler or valet or whatever he is, explaining away a "contusion" on the back of his head with, "The result of a fracas in the mess, concerning the quality of a pudding, sir, know as 'spotted dick'."

There were one or two other things in the script that Agatha Christie (played by Vanessa Redgrave in "Agatha") could not have gotten away with. Guilgud also does a marvelous job with the simple act of stabbing his employer, wriggling the dagger from side to side in the unconscious man's chest, and yanking it out with a theatrical flourish and an expression not of rage but of utter contempt. Likewise impressive is Sean Connery as Colonel Arbuthnot, that mess hall accent and demeanor, that mustache more firmly established than the Empire itself, snapping at Poirot that he would not have been stupid enough to use his "peep cleaner" and leave it in the murdered man's ash tray.

The least interesting performances probably include Jacqueline Bissett, Peter York, and some minor characters, but this is partly because their roles require less of them. (How can you be a hammy wagon-lit conductor?) I haven't read the novel in years but my impression is that this movie, with its additional wit, is an improvement.

The elegance of first-class travel on a train whose very name is suggestive of mystery and romance is nicely conveyed. It's snowy and scenic and bitterly cold outside, but in these beautifully appointed compartments we are well and snug and can order fresh oysters and fruit and poached sole with one new potato and a green salad with no dressing. It's cramped of course, but that merely adds to the impression of coziness.

The Orient Express as I experienced it in third class isn't really very elegant. The only space I could find was on the metal floor in front of a bathroom, whose door kept swinging open and shut. Everyone on board seemed to have a digestive disorder. After buying a bottle of home-made chianti from a vendor at one of the stops, for twenty-five cents, so did I. I suppose you have to be well-to, British, and middle class, as Christie was. All her views of the world, gathered in the wake of her archaeologist husband, are tourist's views, which is just fine.

The plot, as always in a Christie story, is as finely tuned as a watch and follows its format as closely as any episode of "Columbo." Poirot meets an old friend in some unusual place. A murder takes place. Poirot interviews everyone and pieces the whole thing together, no matter how improbable the feat. The last chapter (or reel) has the guests gathered together silently while Poirot strides around, or in Finney's case, shuffles around, and explains what has happened and why. The solutions are usually a surprise when they are finally revealed, but repeated viewings don't hurt. In fact, knowing ahead of time what the end will look like gives us a chance to appreciate better the display and character and the planting of clues, real and false. This is nothing more than a divertimento but it is a highly likable one, without pretense, and neatly done.

"Murder On The Orient Express" is arguably the most famous theatrically released film based on an Agatha Christie book, but there are two factors that keep me from rating it quite as high as its successors, "Death On The Nile" and "Evil Under The Sun": a) Albert Finney has his moments as Hercule Poirot, but sometimes his stuffy, mannered performance comes close to obnoxiousness (some people might claim that he's trying to be more accurate to the character as written by Christie, but I don't think the Poirot of the books would ever tear up the menu of a restaurant and throw the pieces up in the air), b) although the solution to the mystery is one of Christie's most daring and unusual, it is also pretty tough to translate from the page to the screen because it is necessary to introduce a remarkably high number of characters and explain the connection of all their backgrounds to the present events. The script does not succeed 100% at this task, and some of Poirot's conclusions seem to come from pure supposition. Besides all that, however, there's still a lot to like about "Murder On The Orient Express": the superb cast (though I don't know why Ingrid Bergman won an Oscar for this role, if anyone deserved such an award, it was probably John Gielgud or Wendy Hiller), the exhilarating music score, the nostalgic train setting, and some memorably atmospheric scenes (the opening, the re-construction of the crime, etc.). Definitely a film that can be watched multiple times. *** out of 4.

Murder on the Orient Express started a nice trend in filming some of the most stylish of Agatha Christie novels by producer John Brabourne. Although Albert Finney who does a fine job as the Belgian Sleuth Hercule Poirot declined to do further films with Poirot, Peter Ustinov more than amply took up the slack in later productions.

Richard Widmark is an American expatriate traveling on the famous Orient Express train and he's been receiving mysterious death threats. As it happens Poirot is on the train also and refuses Widmark's offer to be a bodyguard.

Widmark is later stabbed to death in his compartment and while the train is stranded somewhere in Yugoslavia due to snow drifts, Poirot investigates the murder in the best Agatha Christie tradition. Of course in that same tradition the plotters would have gotten away with it more than likely had Poirot and his little gray cells not been present.

Widmark as it also turns out was a gangster who had to flee America because he was named as the mastermind of a horrific crime that shocked the nation. There are a whole lot of people who had reason to want him dead.

Poirot conducts his inquiry of the other passengers and they are quite a crew consisting of among others, Lauren Bacall, Michael York, Sean Connery, Ingrid Bergman, Wendy Hiller, Rachel Roberts, Vanessa Redgrave, Jacqueline Bissett, etc.

Of course I won't tell you the solution, but here's a hint. Note what Sean Connery says while he's being grilled.

It's a great ensemble cast of course with a bunch of seasoned players doing their thing. Ingrid Bergman got a Best Supporting Actress award for her portrayal of a simple soul who is a missionary. I'm betting the critics noted that her part was offbeat casting for her which she pulled off. In any event she was surprised as all get out when her name was read at the Oscars in 1975. In accepting the award she got up and said quite matter-of-factly that fellow nominee Valentina Cortese deserved it. Of course she didn't turn it down.

As I said, this was one elaborately planned murder and I think you will enjoy seeing Poirot unravel it and what happens later.

One of the most famous of Dame Agatha Christie's novels. This is a glorious, beautifully directed, star studded production. I will be honest and say it took me a long time to appreciate just how good a film this actually is.

The format and layout of the film works tremendously well, the dark and twisted kidnap and killing story at the beginning sets the tone well, it hits hard, and makes the end of the film all the more engaging and believable.

The film looks sensational, it is a beautiful production (especially in HD) the scenery throughout is lavish, a true feast for the eyes. From the bright sunny beginning, to the dark, bleak and snowy scene of the murder. The film seems to get intentionally darker as it progresses. The costumes are glorious, Jacqueline Bisset especially gets to wear some wonderful outfits.

Albert Finney is good in the part, he certainly looks the part, when I read the book he is exactly how I visualise him. He is wonderfully theatrical, and as Ustinov definitely suits the flavour of Death on the Nile, so does Finney here.

The characterisations aside from Poirot are expertly brought to life, some glorious performances, Lauren Bacall and Wendy Hillier are sensational in their roles, how well the cast bring to life the class system of 1930, it really was a different world. Sir John Gielgud is tremendous as stiff upper lipped Beddoes, and plaudits also to Richard Widmark who makes Mr Ratchett as vile as possible.

9/10 you can almost smell the gourmet cooking and hear the clink of Champagne flutes. A glorious film. Kenneth Branagh's new adaptation has a lot to live up to.