Assassinato no Expresso Oriente

Impressive cast, admirable performances, the right mark of Sydney Lumet, giving elegance to a well known story. and proposing not only a good adaptation but a sort of refined delight. because it is a remarkable show of nuances and convincing translation of the traits of characters in a sort of large puzzle of splendid roles. a film impressive scene by scene. maybe not the best adaptation of Agatha Christie novel. but a memorable one. and that is real enough.

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.

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.

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.

"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.