Assassinato no Expresso Oriente

"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.

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.

The movie is an excellent whodunit and concerns upon one murder in the Orient Express train with Hercules Poirot (Albert Finney) as sleuth-man to solve it . There are many suspects , all support cast : Sean Connery , Ingrid Bergman , Anthony Perkins , Vanessa Redgrave , Jacqueline Bisset , Richard Widmark , Rachel Roberts , John Gielgud , Michael York , etc . Who's the killer? . Poirot is helped by a ¨Watson-alike¨ (Martin Balsam) and they will track down to culprit at the end .

At the beginning of the film talks about a kidnapping and killing a baby similarly to the Lindberg's son and which the murderer was condemned to death row , this one will be related with the death of the train.

The motion picture is only set on two scenarios : the station and train . However this doesn't make boring it.

The runtime movie is overlong : two hours and some but isn't slow-moving and is amount amusing for suspense and tension.

First-rate interpretation specially from Albert Finney and Ingrid Bergman , Oscar winner as best secondary actress .

The set design and costumes are riveting , the flick is magnificently set by that time . Evocative musical score by Richard Rodney Bennett . Geoffrey Unsworth's cinematography is atmospheric and colorful.

Sidney Lumet's direction is fascinating such as ¨12 angry men¨ .

The movie will appeal to suspense enthusiasts and thriller lovers.

Rating: 7,5/10 . Very good

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.

This whodunit story by Dame Agatha is excellent. She has always been my favorite writer of detective fiction. I keep returning to the film version, however, not because of the story but because of the film's sheer elegance and style. It is awash in elegance ... the majestic cinematography; the glamorous clothes; the delightfully eccentric aristocratic characters; the mysterious yet refined musical score. The film is so theatrically regal I'm surprised that it did not feature a representative of British royalty.

The setting is Europe in the 1930's. The pace is slow and relaxed. And while the dialogue is in English, the film has a deliciously international flavor, with a mix of interesting accents and word pronunciations. Heavy on dialogue, the film never seems overly talky, the result of a clever screenplay and lush visuals. Humor is included in the script usually in the form of tasteful put-downs. Example: an attractive Mrs. Hubbard comments: "Don't you agree the man must have entered my compartment to gain access to Mr. Ratchett?" The aging Princess Dragomiroff responds in a deadpan tone: "I can think of no other reason, madam."

In his portrayal of Hercule Poirot, Albert Finney almost literally disappears into the role, a tribute to convincing makeup and to Finney's adroit acting. His performance is appropriately idiosyncratic, deliciously hammy, and theatrical, every bit as entertaining in this film as Peter Ustinov is in subsequent Christie movies. The rest of the cast has ensemble parts, my favorite being Wendy Hiller whose Princess Dragomiroff comes across as royal, proud, and very eccentric.

With its snowy landscapes, ornate and cozy interiors, and subdued lighting, "Murder On The Orient Express" is an excellent movie to watch on a cold, winter night, snuggled under a blanket or next to a warm fireplace with a cup of cappuccino or a glass of cognac. Just be sure that all knives and daggers in your mansion are out of reach from your staff of servants.