Murder on the Orient Express

As time went on, my tastes in entertainment and art changed. However, a few things remained constant. Among them is my dislike for classic detective stories, where a brilliant private detective searches for a sophisticated criminal, and the reader/viewer witnesses the battle of two brilliant minds, usually culminating in a scene that I suffer the most from. Yes, I mean that countless cliché when all the suspects gather in one room, the great detective analyzes their statements, discovers subtle inconsistencies, destroys alibis, and infallibly points his finger at the perpetrator who hangs his head, confesses under the weight of the arguments, and obediently allows himself to be taken to the police. No, Agatha, that's not how things work in real life, and I prefer something else over your fairy tales. In the film, I was drawn in by the cast, the director's name, and the positive reviews, including an Oscar award. But alas, cold water was poured on my expectations. Poirot was miscast, the actors in supporting roles were divided into those who acted poorly and the rest who were outright bad. If I hadn't seen Murder on the Orient Express, I would never have believed that Ingrid Bergman could be so wooden. The only acceptable actor is perhaps Anthony Perkins. The resolution of the case presents an indigestible bizarre scenario even within the artificial world of classic detective stories, which slides toward the unwanted edges of parody. Lumet's direction could have fascinated American scholars only thanks to the producer's brilliant marketing strategy. Murder on the Orient Express once represented the symbol of the Belle Époque era and opulent luxury, and Lumet at least could have captured the beautiful nature of the Balkans and created an atmosphere centered around the train, a symbol of romantic journeys beyond ordinary life and the adventures of wealthy travelers seeking exoticism - then I would be more generous. I would also give it another star if I were a fan of the genre. But the way it is,  I have to be very sparing. Overall impression: 25%. (25/10/2018)

This Poirot film, full of seventies mannerisms, was at the beginning of a new era of Agatha Christie adaptations. This is because during the author's active career as a writer, while there were many interesting films or television transcripts, the main action still happened on the pages of books, magazines, and on the stage (ideally in her dramatization). Today's cult status developed virtually only after Albert Finney passed Poirot on to Ustinov and then Suchet. This version of Murder on the Orient Express is constantly available for us to find a new appreciation of the acting of Bacall, Bergman, Bisset, Redgrave, Connery, York and others. And, of course, for the story inspired by the tragedy of Lindberg's child, but handled much better by Branagh. (02/04/2009)

From the flood of steam and optimistic start of a sudden adventure to the suffocating culmination of all traces and an avalanche of snow. And the little man Poirot in the chaos of suspicious acts and hints, from the first boarding on the train to the final revelation. The twist, however, is not at all difficult and everyone would surely hit it with a moment of confused guessing. But the ingenious and atmospheric journey to it is unforgettable. (29/03/2008)