{"id":69853,"date":"2017-11-03T01:01:37","date_gmt":"2017-11-02T23:01:37","guid":{"rendered":"https:\/\/ngradio.gr\/?p=69853\/"},"modified":"2017-11-03T01:01:37","modified_gmt":"2017-11-02T23:01:37","slug":"film-review-murder-orient-express","status":"publish","type":"post","link":"https:\/\/ngradio.gr\/en\/news-el\/entertainment\/film-review-murder-orient-express\/","title":{"rendered":"Film Review: \u2018Murder on the Orient Express\u2019"},"content":{"rendered":"

Kenneth Branagh’s take on Agatha Christie’s eccentric detective is one for the ages, though his larger-than-life persona (and mustache) upstages her most famous mystery<\/p>\n

Over the course of his 28-year directing career, Kenneth Branagh has adapted everything from literary classics (Shakespeare\u2019s \u201cHenry V\u201d) to comicbook pulp (putting a distinctive Dutch-angle slant on Marvel\u2019s \u201cThor\u201d). Now, with \u201cMurder on the Orient Express,\u201d the audacious multi-talent forsakes brows both high and low in favor of the most extravagant mustache moviegoers have ever seen: a flamboyant spun-sugar swirl of silvery whiskers better suited to a circus strongman, or perhaps a turn-of-the-century unicycle salesman \u2014 than Agatha Christie\u2019s beloved Belgian sleuth.<\/p>\n

\u201cMy name is Hercule Poirot, and I am probably the greatest detective in the world,\u201d Branagh pronounces from behind his elaborate lip toupee \u2014 which the crew called \u201cthe Badger,\u201d seeing as how the furry salt-and-pepper pelt transforms the actor\u2019s mug into a muzzle of sorts. From a character perspective, such ostentatious facial hair is clearly compensating for something (not intellect, for Poirot is notoriously gifted when it comes to using his \u201clittle grey cells\u201d), though it requires an actor who is completely confident in his own abilities to pull off, as a lesser thespian might be upstaged by it entirely.<\/p>\n

As it happens, Christie saw Poirot\u2019s mustache as an over-the-top indulgence, an eccentric extension of the detective\u2019s personality, and she took great pleasure in letting various characters poke fun at it over the course of the 33 novels in which Poirot appeared. (She was reportedly never satisfied with the wax-tipped falsie Albert Finney wore in the 1974 version,\u00a0<\/strong>directed by Sidney Lumet.) That film has its charms, among them an all-star cast ranging from Ingrid Bergman to Sean Connery, but hasn\u2019t held up particularly well, leaving room for Branagh to give the classic mystery a fresh spin \u2014\u00a0although the undertaking also presents a formidable challenge, considering that its solution is one of the worst-kept secrets in English literature.<\/p>\n

For those who know the outcome of \u201cMurder\u201d going in, the question isn\u2019t so much\u00a0whodunit<\/em>\u00a0as\u00a0how\u00a0<\/em>Branagh will keep audiences guessing, and though he succeeds in creating the most memorable incarnation of Poirot ever seen on-screen (upstaging even\u00a0Johnny Depp<\/a>\u2019s competing cameo), the movie is a failure overall, juggling too many characters to keep straight, and botching the last act so badly that those who go in blind may well walk out not having understood its infamous twist ending.<\/p>\n

By contrast, the film\u2019s opening is as elegant as they come, an invention of screenwriter Michael Green that introduces the world-renowned detective (whom Branagh plays himself) as a cultivated gentleman, obsessing over whether his Jerusalem hosts can prepare the perfect hard-boiled egg when the theft of an important relic demands his attention. In the most theatrical fashion imaginable, Poirot examines the scant evidence and delivers what for him can be the only logical conclusion to the crowd, anticipating even the guilty party\u2019s escape plan.<\/p>\n

This\u00a0<\/em>is how Branagh ought to handle the script\u2019s central mystery \u2014\u00a0the murder of a dastardly criminal who had it coming\u00a0(Depp, looking every bit the rake) \u2014\u00a0but instead he and Green seem overly worried that audiences might lose interest if they followed Christie\u2019s clockwork-precise novel to the letter, concocting a dizzying series of diversions to suggest that the case might unfold otherwise (which, to some extent, it does). Meanwhile, the setup remains constant as Depp\u2019s Samuel Ratchett (an alias for notorious sleaze Lanfranco Cassetti, responsible for the kidnapping and murder of 3-year-old American heiress Daisy Armstrong) dies aboard the Orient Express, stabbed a dozen times during the night by someone still aboard the train.<\/p>\n

When a freak avalanche forces the Orient Express to stop on a precarious (and breathtakingly cinematic) stretch of track, Poirot finds the time to interview each and every one of the suspects \u2014\u00a0confined to the 12 first- and second-class passengers who might have had access to Ratchett\u2019s cabin. Poirot, whose black-and-white worldview insists, \u201cThere is right, there is wrong, and nothing in between,\u201d finds this to be his most difficult case yet, in part because each of these peculiar strangers could conceivably have a motive \u2014\u00a0yielding a complex dance of candor and deceit that invites audiences to test their detective skills to see who might be the most likely killer.<\/p>\n

Among the ensemble, too many and ultimately too confusing to enumerate, are an unpleasant Russian princess (Judi Dench, all scowls and vinegar), an undercover detective (Willem Dafoe, assuming a showy Austrian accent), a fire-and-brimstone Spanish missionary (Pen\u00e9lope Cruz, playing the zealot) and an opportunistic widow (Michelle Pfeiffer<\/a>, quite the minx), plus a handful of younger actors (Josh Gad, Daisy Ridley and Leslie Odom Jr.) who may well have been chosen to balance the studio\u2019s potential-box-office algorithm for this pricey production \u2014\u00a0which is not to say that there\u2019s a weak link among them. It\u2019s just that Branagh finds himself wrangling a dozen wildly different character types, positioning them amid production designer Jim Clay\u2019s meticulously recreated train set, and then permitting each to chew as much of said scenery as he or she can devour.<\/p>\n

What a shame that the director, whose decision to shoot on 65mm gives the detail-oriented production a surreal (if rather unfortunate) \u201cPolar Express\u201d-like feel at times, wasn\u2019t able to sustain the sense of wonder established in the film\u2019s opening reel\u00a0\u2014\u00a0especially during the pair of stunning tracking shots with which he unveils the Orient Express. For some reason, he privileges Poirot\u2019s character (who is there to solve the case, not steal the show) and the train itself over his accomplished cast, even going so far as to invent an unnecessary love interest for the detective, deepening his character at the expense of the others, whose ostensible ties to the victim are barely explained.<\/p>\n

As if to inject a bit of extra excitement into the whole affair, the movie manifests two weapons \u2014 a gun and a dagger \u2014 which serve to create a frisson of jeopardy while seriously undermining the solution to Christie\u2019s intricate puzzle. When it does come time for Poirot to present his theory of what really happened, he lines everyone up like the disciples in Leonardo\u2019s \u201cThe Last Supper\u201d but fails to articulate how he untangled the far-fetched plot. Even Christie realized that she was going out on a limb with \u201cMurder,\u201d having one character exclaim: \u201cThis is more wildly improbable than any\u00a0roman policier<\/em>\u00a0I have ever read!\u201d But Branagh deflects, shifting the focus from the big reveal to what his character will decide to do about it, then letting him off the hook by suggesting that his skills are otherwise needed to investigate a death on the Nile \u2014 a nod to another Christie mystery that might have been better served by Branagh\u2019s scene-stealing Poirot.<\/p>\n<\/article>\n

\n

Film Review: ‘Murder on the Orient Express’<\/p>\n

Reviewed at Samuel Goldwyn Theater, Los Angeles, Oct. 25, 2017. MPAA Rating: PG-13. Running time:\u00a0114 MIN.<\/strong><\/p>\n

PRODUCTION<\/strong>: A 20th Century Fox release and presentation of a Kinberg Genre, the Mark Gordon Co., Scott Free production. Producers: Kenneth Branagh, Mark Gordon, Judy Hofflund, Simon Kinberg, Michael Schaefer. Ridley Scott. Executive producers: Matthew Jenkins, James Prichard, Aditya Sood, Hilary Strong. Director: Kenneth Branagh. Screenplay: Michael Green, based on the novel by Agatha Christie. Camera (color, 70mm): Haris Zambarloukos. Editor: Mick Audsley. Music: Patrick Doyle.<\/p>\n

WITH<\/strong>: Kenneth Branagh, Johnny Depp, Michelle Pfeiffer, Pen\u00e9lope Cruz, Willem Dafoe, Judi Dench, Josh Gad, Derek Jacobi, Leslie Odom Jr., Daisy Ridley, Marwan Kenzari, Olivia Colman, Lucy Boynton, Manuel Garcia-Fulfo, Sergei Polunin, Tom Bateman, Miranda Raison.<\/p>\n<\/div>\n

 <\/p>\n

Source:\u00a0variety.com<\/p>\n","protected":false},"excerpt":{"rendered":"

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