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The Sum of It:
So after months of waiting, we finally went to see Gilderoy Lockhart (aka Kenneth Branagh #harrypotter #always)'s Murder on the Orient Express this past weekend!
We have so many thoughts and feelings, so we'll try to organize them as best we can:
*ALERT: LOTS AND LOTS OF SPOILERS AHEAD!*
THINGS WE LIKED:
Audrey: I know this film will get a mix of reactions, however, on the whole, I really enjoyed this adaptation. I can't decide if being an Agatha Superfan enhanced my experience or not, but I couldn't stop smiling seeing my favorite author getting some more big-screen time.
*I thought the casting was ON. POINT. Judi Dench? TOTAL PERFECTION per usual (although obvi not hideous like the book describes). Johnny Depp? Simply OOZING evil and luxury in that coat and pomade! Daisy Ridley and her adorable bob? YAS, YAS, YAS!
*Poirot: Though I took some issue with the added history to our favorite Belgian sleuth's background (see below), I was shocked at how much I enjoyed Branagh's interpretation of Poirot. While at times the highlighted eccentricities were inconsistent (I can't believe Poirot would eat cake off of another person's plate...nor appear in public in a suit jacket with a visible bullet hole), they were also very on-brand for Poirot. I enjoyed the bit about his eggs being the same size (one of my favorite book Poirot features), the tie straightening, YES, even the moustaches (upon a re-read, the book does describe them as "enormous"). Branagh also gave off the aura of the endearing Papa Poirot that I enjoy so much from many of his books, especially in his interactions with Mary Debenham.
Emily: Like many of you, we were prepared to hate Branagh's Poirot, but honestly, I thought he did really well with it! His accent was on point and I was less distracted by the moustaches than I expected to be. I agree with Audrey that much of the casting was really compelling, particularly Johnny Depp, who gave Ratchett a nice evil depth that other Ratchetts have lacked. Daisy Ridley was also charming and gave a very Agatha-esque portrayal of the clever young lady that held echoes of Tuppence and Emily Trefusis and other favorite plucky young woman characters from Agatha's tales. I also enjoy seeing Willem Defoe in any movie playing any part at any point in time, same with the #blessed Olivia Coleman, so their brief times on screen warmed my heart. I also super enjoyed the portrayal of Monsieur Bouc as a charming cad.
*Setting: I also thought the set and cinematography were straight up gorgeous. The sumptuous glamour and warmth of the train were just as I have always imagined, the austere cold of the mountains and snow surrounding it, the beauty of the opening scenes in Istanbul, all of it was a full realization of the world Agatha created with words. Aside from murder, I wanted to be in all those places.
THINGS WE DIDN'T LOVE:
Audrey: My main frustration with this adaptation was the muddying of the post-murder/stuck-in-the-snow actions of Ratchett's killers. The group's original plan was, of course, to exact their revenge on Cassetti/justice for the Armstrongs and then to cast blame for the crime on a mystery man (or maybe even a woman) who had been on the train, dressed as a conductor, stabbed Ratchett, and then exited the train. In the book, when the train becomes stuck in the snow, the group still rallies around the same idea of presenting evidence, albeit confusing evidence, to support this explanation of the crime. However, the film's characters didn't appear to stick with this solution. There is some of the book's mystery man "clues" (the button from the uniform and, eventually, the uniform itself, the kimono, etc.), but there is also a great deal of casting blame on other passengers, and additional fabrications to imply the killer is still on board (e.g., the addition of the Mrs. Hubbard backstab #eyeroll). This seems to be completely contrary to the motives behind the killers both in the book AND at the end of this film. As Poirot repeats over and over at the denouement of the film, this group is not a pack of killers, but people seeking the justice they never received through the normal legal channels. They are in this endeavor together, and it seems out of character for any of them to wish to see another be convicted alone of the crime.
Emily: There were a few things that just annoyed me and a couple things that I really didn't like. Poirot as action hero leaping around on a train trestle on the side of a mountain was just absurd, and not even close to something the character ever would have done, early or late in his career. The physicality of Branagh's Poirot, while dashing, was generally a bit incongruous with the character. I was also truly irritated by the bizarre and needless insertion of Poirot's long lost love Katherine, and his constant murmuring at her photograph. It was so unnecessary and again out of character. There are very few times when Poirot's love life plays a role in any stories, and it certainly doesn't play a role in Murder on the Orient Express. I am also annoyed that Olivia Coleman wasn't given more lines because she is a kween (and THE QUEEN #YasNetflix).
I also felt that the reveal of the connections to the Armstrong family and the true identity of Ratchett was handled extremely clumsily, and took away much of the mystery and suspense of the story. I also totally agree with Audrey that the final scenes, and the dialogue in the final scenes, were very much out of line with the crux of the story and Poirot's actions and decisions in it, as well as the group's motivations. The symbolism of the number of people participating matching that of a jury, and their actions as such, are a key point of the tale and of the actions Poirot takes at the end of the story, and that was all exchanged for some uncharacteristically dramatic and emotional speechifying and I-am-Spartacus-ing that was far less impactful and needlessly silly. Also, Michelle Pfieffer's performance, which I otherwise enjoyed, was marred by the overwrought monologue in the final scenes (and the random additional stabbing of her character in the back for basically no reason).
We will say, though, that after spending so much time in Agatha's world ourselves (with all of you!) it has been really fun to see the excitement and attention about her work that has come along with the new film and television adaptations. We can't WAIT to see the new Ordeal by Innocence and Crooked House adaptations!
There are obviously many other details regarding Orient Express that I'm sure we'll have opinions on upon rewatching, HOWEVER, at the moment we want to hear from all of you! What did YOU think? We're looking forward to a hearty discussion in the comments below!
-A. & E.
