MURDER ON THE ORIENT EXPRESS : Tuesday 14th November 2017.

'MURDER ON THE ORIENT EXPRESS' which I caught earlier this week is the classic 1934 Agatha Christie murder mystery novel upon which this film is based, that has been committed to the big and small screens a number of times over the years, most notably in 1974 as Directed by Sidney Lumet and starred an ensemble cast. That film was nominated for six Academy Awards and won one - for Best Supporting Actress going to Ingrid Bergman. It was also nominated for ten BAFTA's and walked away with three for Best Supporting Actor and Actress to John Gielgud and Ingrid Bergman respectively, and Best Music. All up the film won nine awards and received a further sixteen nominations, and at the Box Office returned US$36M from its US$1.4M budget outlay. The films cast included Albert Finney as the super sleuth gentleman detective Hercule Poirot, Sean Connery, John Gielgud, Anthony Perkins, Michael York, Richard Widmark, Lauren Bacall, Ingrid Bergman, Vanessa Redgrave and Jacqueline Bisset. In 2001 a made for television movie was released of the same name, featuring the same storyline, and the same title but set in the present day and starring Alfred Molina as Hercule Poirot, Peter Strauss and Leslie Caron. Then in 2010 the popular long running television series 'Agatha Christie's Poirot' with David Suchet as the detective aired in Season 12, Episode 3 'Murder on the Orient Express' which featured the acting talents of Hugh Bonneville, Jessica Chastain, Barbara Hershey, Toby Jones, David Morrissey, and Eileen Atkins. There has also been a BBC Radio 4 serialisation of the book and a video game adaptation over the years too.

And so now in 2017 we have this latest lavish reiteration of Christie's famed novel with Kenneth Branagh on Directing duty and starring as the hirsute Belgian detective Hercule Poirot with a ensemble cast for this production that reads like a Who's Who of British and American acting talent. The film was released in the UK on 2nd November, and in the US and Australia on 9th November. and has so far grossed US$105M off the back of a US$55M production Budget. The film has generated mixed Reviews from Critics, but all universally praise the casting and production values.

The film opens up with a scene setter in a 1934 Jerusalem at the site of The Wailing Wall where Poirot announces to a gathered crowd of onlookers who the culprit is in the theft of a valuable religious artefact. Job done, but not without a scuffle, he is ready to depart to Istanbul to travel onward to London to work on another case that needs finalising, and in between time he is to take some much needed R&R. In Istanbul, while checking out the culinary delights of a local market he happens across an old friend, and a Director of the Orient Express, Bouc (Tom Bateman) who offers the Detective a sleeper cabin on the unusually booked out Orient Express. Managing to squeeze Poirot into a shared cabin, we quickly grab glimpses of the other well to do passengers as they board, that Poirot will be sharing his journey with. The first of which is a Caroline Hubbard (Michelle Pfeiffer) a trophy ex-wife to several ex-husbands, clearly wealthy and hungry for a man, who instantly tries to chat up Poirot, but he'll have none of her advances, preferring to keep himself very much to himself, and besides, he's got a Charles Dickens book to catch up on.

As the train gets underway, Poirot is introduced to Samuel Ratchett (Johnny Depp), an American businessman who looks more like a mobster than a professional purveyor of fine arts, collectables and antiquities that he claims he is new into and still learning as he goes. Ratchett is joined on the journey by his bookkeeper come lawyer come personal assistant Hector MacQueen (Josh Gad). Over a pastry in the dining car, Ratchett confides in Poirot that he has recently undertaken some dodgy deals back in Istanbul selling fake wares, and those hard done by now want pay back and are vying for his blood, and sending him threatening letters. Ratchett pleads with Poirot to act as his personal bodyguard, for a handsome fee, for the duration of the trip to ensure his safety, but Poirot politely declines. Later that night while Poirot is trying to get to sleep he is constantly disturbed by noises coming from outside his cabin in the interconnecting hallway. Later on that night when the commotion has settled down, a lightning bolt strikes the side of a snow covered peak sending an avalanche crashing down upon the advancing train, causing the engine carriage to derail, halting the journey in its tracks on a remote mountain side.

The next morning, Poirot learns that Ratchett was murdered in his bed sometime during the previous night - stabbed a dozen times in the chest. Poirot and Bouc investigate the crime scene and the murder case, with Bouc being the only non-suspect on the train, because he slept in a different carriage the night before, unlike everyone else. Initial evidence points to a suspect working alone, with Caroline Hubbard claiming that during the night there was a strange intruder present in her cabin. Several clues are left in Ratchett's cabin, including an unused pipe cleaner, a fine lace bloodstained handkerchief with the letter 'H' engraved, and a partially destroyed note linking Ratchett to the case of an abducted child Daisy Armstrong some years previously.

The Armstrong child was held for ransom, and then killed. Ratchett is identified as being John Cassetti, the murderer of the child. Grieving, Daisy's mother Sonia collapses and gives birth to a still born premature baby and dies in child birth, and shortly thereafter, her father Colonel Armstrong commits suicide. The family's housemaid Susanne, was found guilty of the murder on trumped up charges allowing Cassetti to go free, and she hanged herself while in custody, only to be determined innocent after the fact.

More evidence is uncovered during the course of the investigation, while rail workers dig out the engine carriage from the snow. Poirot and Bouc systematically interview all the other suspects gathering further insights into their individual backgrounds, possible motives, and sorting through the lies from the truth. Poirot discovers through his expert powers of deduction, that all suspects are in some way linked to the Armstrong household, the family, or the ensuing court case. Whilst interviewing Governess Mary Debenham (Daisy Ridley) who upto now has been the most aloof about Ratchett maintaining her silence, Poirot is confronted by Dr. John Arbuthnot (Leslie Odom Jnr.) who claims responsibility for the murder, and who is also the secret interracial love interest of the Governess. A scuffle breaks out, in which Arbuthnot, a trained former sniper, shoots Poirot in the arm, but who is then incapacitated by Bouc. Poirot however, can see that Arbuthnot had never intended to kill him, and was acting out of love for Mary Debenham.

By now, Poirot has amassed enough evidence, but the prime suspect still eludes him. He calls everyone together in the nearby train tunnel while the rail workers set the engine carriage back on the tracks. He has two theories. One is that there was a lone murderer who masqueraded as a Conductor, killed Ratchett and fled the scene of the crime undetected under cover of darkness. The other is much more complex and involves every passenger suspect aboard the train being linked to the Armstrong's, to Susanne and the subsequent trial in some way - giving them all a possible motive.

Poirot concludes ultimately that each and every one of them had reason for killing Ratchett and therefore in this case, unlike every one of the cases he has solved before, there is no right or wrong, it is not black and it is not white, there is no guilty nor innocent, and as such he will have to live with that imbalance. This outcome does not sit easy with the Super Sleuth, but he must accept it on this occasion and under these circumstances.

Upon arrival at the next train stop, Poirot presents the evidence of a killer acting alone to the Yugoslavian Police, who accept his story, leaving the passengers to continue their onward journey, each wrestling with their conscience. As the Detective leaves the train, a messenger alerts him that he is required urgently in Egypt, as there has been a murder on the Nile. Poirot accepts the case, forgoing his much needed R&R, as the Orient Express departs the station, and he jumps into a waiting car.

The film also stars Judi Dench, Willem Dafoe, Derek Jacobi, Penelope Cruz, Olivia Colman and Lucy Boynton amongst others in supporting roles offering minimal dialogue that belittle their acting credentials leaving them to wallow in the background. There is no doubt that Branagh has cast an impressive line up of A-List Actors who bring a gravitas to the proceedings and no doubt a pulling power into movie theatres the world over. The production values are high and the era has been recreated faithfully with its costumes and set designs, and the CGI adds to the depth of this period piece whodunit with its stunning vistas. But, is that enough to carry off this film? Despite such an ensemble cast, I couldn't help feeling that our amassed group of fine acting talent were left wanting to do more with their characters, but instead are largely sidelined with very little dialogue of note. Branagh meanwhile, chews up every scene and with his enormous well kempt moustache arriving fifteen seconds in the room before he does, he puts together the pieces of this murder jigsaw puzzle with relative ease it seems whilst telling everybody that he is the greatest Detective the world has ever seen. And, when the ending comes and the big reveal, it's all a bit of an anti-climax really, that sees Poirot going back on his principles that have served him so well throughout his career to date - first time for everything I guess, including his Oscar worthy facial fuzz extraordinaire. A classic story that looks good on the screen and has a lot going for it, but ultimately are period piece whodunits still a drawcard for the modern audience . . . . only you can answer that one!

Depending on the success of this film, Branagh has indicted his willingness to adapt further Christie novels involving the master of investigative deduction, Hercule Poirot, and judging by the closing scenes of this film it looks as though 'Death on the Nile' could be up next.

-Steve, at Odeon Online-