Film Review: Murder on the Orient Express

A film like this is a rare beast these days.  Amongst all the franchises and sequels, Murder on the Orient Express came along unexpectedly, whipping through like a breath of fresh air. As one of Agatha Christies' best loved novels, there have been a couple of adaptions, on TV and the big screen, including the 1974 Sidney Lumet version starring Lauren Bacall and Albert Finney, but none have the flair and sense of fun that comes packaged in Kenneth Branagh's sumptuous interpretation.  I have an impression that the feel of this film may have been more in line with Christie's vision of the story – although admittedly with more drama, less racism and better moustaches.  And on the subject of moustaches, we have to talk about Branagh's fine specimen which puts all others to shame.  Christie's Poirot once remarked that "If you must have a moustache, let it be a real moustache – a thing of beauty..."  and this is certainly that.  Poirot’s snood also deserves a mention, making him the all-round fine gentleman that he is.

The accompanying cast reads like a who’s who of acting royalty; Dame Judi Dench, Derek Jacobi, Olivia Colman, Michelle Pfeiffer, Johnny Depp, Willem Dafoe, Penelope Cruz, the list goes on. While the distribution of speaking parts is a little uneven - leaving the feeling of wanting to see more from certain brilliant characters - each actor brings to the table their share of quality workmanship, making even the smaller parts rich in presence and personality.

And the train itself is a character in its own right, ploughing through stunning wintery mountain and forest backdrops. As it makes its lonely way across the wilder parts of Europe, it brings home the isolation of the people carried along inside. Shot in incredible 65 mm format, the depth and range of the scenery is of epic proportions and gives the setting the grandeur it demands. Decked out in a style of pre-war decadence of wood-inlaid, velvet-covered luxury, the train behaves more like a Tardis, somehow packing away at least 14 passengers, chefs, drivers, conductors and bar staff who all fit neatly into two carriages leaving room for a dining car and bar. When the dreaded murder takes place and one of the number is found dead, the opulence gives way to a clever sense of claustrophobia with all the passengers trapped inside with one another. You may know the ending, or you may not – knowing does not spoil the experience as the trail of clues leaves you guessing whether or not screenwriter Michael Green kept to the original plot. It’s a good ol’ whodunnit, revelling in juicy family friendly suspense.

Of all the performances, Johnny Depp’s shady, scarred and craggy gangster is the unexpected hidden gem, and a great come back from Depp after a series of acting misfires. Michelle Pfeiffer seems to be having a moment as well recently after a four year break and smoulders as the older femme fatale. Judi Dench does what she does best and Daisy Ridley (Star Wars) is a fantastic new addition. But of course, the star of the show is Branagh with his flamboyant and eccentric Poirot, a man who believes in absolutes and perfect balance, and who brings a real humanity to the role that carries it into the twenty-first century.

Trailer

Murder on the Orient Express in screening at Broadway Cinema until Thursday, 16th November