“…if we’re judging Murder on the Orient Express upon pure entertainment value alone, it’s only fair to say that this Kenneth Branagh adaptation is something of a success.”
This 2017 version of the Agatha Christie classic, Murder on the Orient Express (MOTOE from hereon in), seems to have received a rather mixed bag of reviews since its release. Certainly having on board (literally in this case), such a who’s who of acting royalty, demonstrates a certain confidence by Twentieth Century Fox that this weighty cast of A-listers would be sufficiently alluring to transform this well known who dunnit from being merely potential TV fodder into something of a big screen epic.
And if we’re judging MOTOE upon pure entertainment value alone, it’s only fair to say that this Kenneth Branagh adaptation is something of a success.
Branagh himself heads the cast, portraying famous Belgian detective Hercules Poirot. Like many of Agatha Christie’s heroic lead characters, Poirot proves yet again to be something of a jinx; his very presence unsurprisingly coinciding with a murder. In this instance it occurs aboard the luxurious Orient Express train en route from Turkey to Paris.
Only a limited number of passengers are booked to travel on this particular journey, however, all of whom instantly become suspects in the murder of one Edward Ratchett (Johnny Depp), found dead in his sleeping quarters having been stabbed repeatedly.
Ratchett’s shady past is then slowly revealed by those that knew him, a past that more than justifies such a potentially retaliatory action; something that he had in fact made known to Poirot himself, that he was rather fearful of.
With Ratchett’s grave fears proven correct, and with all suspects aboard the train unable to flee the scene of the crime, it is once again down to Belgian’s famous bloodhound to sniff out the truth in this particularly gruesome case of murder.
When one thinks of Poirot, one probably thinks of David Suchet’s long running portrayal on the small screen. Whether that is to be considered the pinnacle of all things Poirot-related is of course open to debate, and there are many far better qualified than I to cast their judgement. Regardless of this, Branagh, it should be said, is excellent in his own portrayal, depicting Poirot as a fastidious stickler for both detail and equilibrium in all things; personal traits that will come to be severely tested in the course of time.
In support, Judi Dench plays the sour-faced Princess Dragomiroff, with Olivia Colman (Hildegarde Schmidt) – a lady of few words – her companion and dog carer.
Johnny Depp is decent enough as Ratchett, though his mumbled American drawl gets a little lost amidst the ambient din of a chugging steam train.
Derek Jacobi, Daisy Ridley, Willem Dafoe and Michelle Pfeiffer more or less complete an all-star line-up of egos, something that Director Branagh will have been tasked with containing during the film’s shoot. Though given his admirable thespian credentials, there would arguably have been no-one better suited to that particular task.
Blessed with Haris Zambarloukos’s stunning cinematography, a quality cast, an overall keen eye for the small details, and a healthy dose of humour thrown in to boot, Branagh’s adaptation of MOTOE, whilst not necessarily adding anything particularly new or revolutionary in its vision, is nevertheless one worthy of both its place on the big screen and more importantly, of the Agatha Christie novel itself.