Le crime de l'Orient-Express

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.

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.

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.

I don't mind telling you that my head nearly exploded during the opening credits: Albert Finney, Lauren Bacall, Sean Connery, Ingrid Bergman, Michael York, Vanessa Redgrave, Richard Widmark, Anthony Perkins, Martin Balsam, John Gielgud! Not to mention that 'Murder on the Orient Express (1974)' was directed by Sidney Lumet, one of my favourite filmmakers, and adapted from an Agatha Christie novel. It was only recently that I had my first encounter with noted Belgian detective Hercule Poirot, having enjoyed a few television episodes with David Suchet in the title role. Finney's Poirot is perhaps too much of a caricature, emphasising the cartoonish silliness of the character rather than the quiet superiority found in Suchet's portrayal (however, I'm not familiar with Christie's novel, and perhaps he was simply written that way). Nevertheless, the remainder of the ensemble cast provides stellar support.

Hercule Poirot is aboard a trans-European express train when a wealthy man (Widmark) is murdered in the neighbouring sleeping compartment. Poirot has a dozen suspicious suspects to choose from, and you'll never pick who did it. Such a large supporting cast may have proved difficult to depict without placing undue emphasis on any one character (and perhaps two hours is insufficient time to thoroughly explore everyone's motives), but Lumet does a good job of bringing together all the loose threads. Red herrings are scattered from right to left, and only Poirot himself can discern the real evidence from the decoys. Ingrid Bergman won her third Oscar for her role as shy missionary Greta, and I do love Ingrid, but the highlight for me was Lauren Bacall's insufferably loquacious Mrs Hubbard. For some high-class entertainment with some prestigious company, 'Murder on the Orient Express' is a surefire winner.

This is both a glamorous and entertaining adaptation of Agatha's Christie's mystery novel. There's certainly a star studded cast but perhaps the main star is the luxury train itself, the legendary Orient Express bound from Istanbul to Calais. Black with gold crests, it hisses steam as it streaks dramatically through the Balkans. Inside are opulent interiors, intriguing compartments, gourmet cuisine, fine wines & liqueurs, and elegantly costumed passengers. Of course there's the typical enclosed group of suspects with a murderer in their midst.

The setting is 1935 and Belgian detective Hercule Poirot boards the Orient Express along with an assortment of colourful, suspicious passengers. One of them ends up murdered in his compartment, a man discovered to be a fugitive responsible (but never prosecuted) for the kidnapping some years earlier of a child that resulted in five deaths. Poirot is called upon to solve the crime, discovering that some of these intriguing passengers may not be who they appear but instead have links to this past case of kidnapping and murder.

Albert Finney is convincing as the eccentric detective Poirot, with his slick black hair and elegant little curled mustache. He plays the role more seriously than Peter Ustinov in Death on the Nile, another film with a star studded cast. I enjoy both renditions of the detective, though my favourite may be A&E's David Suchet. I have heard that Christie herself approved of Albert Finney, but agree with her conclusion that Finney's mustache is too small! My only complaint is the scene in which Poirot is screaming quite abusively at Miss Debenham. It's out of character for this very cerebral detective.

Yes, as the tag line claims, it's definitely the who's who in the whodunit, with the passengers all portrayed by famous stars. These actors must have had fun with their roles. Richard Widmark portrays the obnoxious American businessman, Mr. Ratchett, with Sir John Gielgud his perfectly cast, reserved butler Beddoes, and Anthony Perkins his secretary MacQueen. Michael York and Jacqueline Bisset play the mysterious, foreign Count and Countess Andrenyi, who act guilty as all get out. Lauren Bacall is suitably irritating as the loud, outspoken Mrs. Hubbard, while Ingrid Bergman is a frightened Swedish missionary...or is she? Bergman was a magnificent actress in many roles, but I have to agree with some who question whether she deserved the Best Supporting Actress Oscar here for really, quite a minor part.

Sean Connery is handsome as always portraying the indignant Scottish Colonel Arbuthnot, though I find him even more appealing now. Like a fine wine, he simply improves with age! Vanessa Redgrave plays his love interest, Miss Debenham. What are these two hiding? Obviously something! Of course there's an aristocratic and eccentric old dowager aboard, the proud and haughty Princess Dragomiroff, played to perfection by Wendy Hiller. You can just tell that this black clad and bejeweled lady is not telling the truth! Personally, I took a liking to the train's French conductor, though was previously unfamiliar with the actor, Jean-Pierre Cassel.

The famous locomotive is halted by a snow drift and meanwhile, Poirot is designated to solve the crime, interrogating each suspicious passenger in turn. The detective must summon his little gray cells to ferret it all out, though I find little humour in him here. No spoilers, but I think this is one of Christie's more clever twists. Personally, I would never have guessed the murderer if I hadn't read the novel first. However, one of the suspects being interrogated does give a clue, if you're really sharp!