“THREE ACT TRAGEDY” (2010) Review

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“THREE ACT TRAGEDY” (2010) Review

When I was in my early teens, I had shifted my attention from Nancy Drew mysteries to those novels written by Agatha Christie. And I have not stopped since. I confess that this shift in reading material was the result of seeing the 1978 movie, “DEATH ON THE NILE”, for the first time. Properly hooked on Christie’s works, I focused my attention on her 1934 novel, “Murder in Three Acts”, also known as “Three Act Tragedy”

I have seen two adaptations of Christie’s 1934 novel. The first was television adaptation in the mid 1980s, titled “MURDER IN THREE ACTS”, which starred Christie veteran Peter Ustinov as Hercule Poirot. Although I enjoyed it, I had hoped to see an adaptation of the novel in its original 1930s setting. I had to wait many years before the ITV series, “AGATHA CHRISTIE’S POIROT”granted my wish with an adaptation that not only retained the original setting, but also the original title, “THREE ACT TRAGEDY”.

The story begins on the coast of Cornwall, where Hercule Poirot attends a dinner party at the home of famed stage actor, Sir Charles Cartwright. The latter’s guests also include:

*Dr. Sir Bartholomew Strange – Sir Charles’ old childhood friend and a nerve specialist
*Lady Mary Lytton-Gore – a Cornish neighbor of Sir Charles, who is from an impoverished old family
*Hermione “Egg” Lytton-Gore – Lady Mary’s young daughter, with whom Sir Charles is in love
*Muriel Wills – a successful playwright also known as Anthony Astor
*Captain Freddie Dacres – a former Army officer and gentleman gambler
*Cynthia Dacres – Captain Dacres’ wife and a successful dressmaker
*Reverend Stephen Babbington – the local curate and Sir Charles’ Cornish neighbor
*Mrs. Babbington – Reverend Babbington’s wife near Sir Charles’s home in Cornwall.
*Oliver Manders – a young Cornish neighbor of Sir Charles’, who is interested in Egg
*Miss Milray – Sir Charles’ secretary

The guests gather in Sir Charles’ drawing-room for a round of pre-dinner cocktails. The party is marred when one of the guests, Reverend Babbington, collapses and dies after drinking his cocktail. An inquest rules his death as a result from natural causes. However, Sir Charles believes that Reverend Babbington may have been murdered, but Poirot is not convinced. About a month or so later, Poirot is vacationing in Monte Carlo, when he encounters Sir Charles. The latter reveals via a newspaper article that Dr. Strange had died from similar circumstances, while hosting a dinner party at his home in Yorkshire. Most of the guests who had attended Sir Charles’ party had also been there, with the exception of Mrs. Babbington and Miss Milray. Unlike Reverend Babbington, Sir Bartholomew’s death has been ruled as a homicide. Both Poirot and Sir Charles return to Britain to investigate the two deaths.

Although “Three Act Tragedy” was one of the first Christie novels I had read, it has never been a favorite of mine. I liked it, but I did not love it. Screenwriter Nick Dear made some changes to the story that I either found appropriate or did not bother me. Dear removed characters like society hound like Mr. Satterthwaite and stage actress Angela Sutcliffe (and one of Sir Charles’ former lovers). I did not miss them. One change really improved the story for me. One aspect of the novel that I found particularly frustrating was the minimized presence of Poirot. The lack of Poirot almost dragged the novel into a halt. Thankfully, Dear avoided this major flaw by allowing Poirot’s presence to be a lot more prominent. He achieved this change by making Poirot a friend of Sir Charles and removing the Mr. Satterthwaite. Dear also made one other major change in Christie’s story, but I will get to it later.

Visually, “THREE ACT TRAGEDY” is a gorgeous movie to watch. Peter Greenhalgh, who had passed away last year, provided the production with a colorful photography that I found particularly beautiful. My only complaint about Greenhalgh’s photography is that it struck me as a little fuzzy at times to indicate the story’s presence in the past. Another dazzling aspect of “THREE ACT TRAGEDY” were the production designs created by Jeff Tessler, who more orless served as the production designer for “AGATHA CHRISTIE’S POIROT” between 2005 and the series’ end in 2013. Judging by the admirable way he managed to re-create not only the movie’s 1930s setting, but also various locations, only tells me that he had been doing something write. I certainly had no complaints about the costumes designed by Sheena Napier. Like Tessler, she worked for “AGATHA CHRISTIE’S POIROT” for a long period of time . . . even longer than Tessler. Although I am no expert on early 20th century fashion, I thought Napier excellent job in creating costumes for the production’s setting and the different characters.

The performances featured in “THREE ACT TRAGEDY” were first-rate. I did not find anything exceptional about David Suchet’s portrayal of Hercule Poirot, but I thought he gave his usual more-than-competent performance. Martin Shaw gave a very solid performance as the charming, yet intelligent Sir Charles Cartwright, who was the first to sense something wrong about the first murder. I was also impressed by how the actor conveyed his character’s insecurity over a romance with a much younger woman. Kimberly Nixon seemed like a ball of fire, thanks to her portrayal of the vibrant and charming Egg Lytton-Gore, who found herself torn between two men. I also enjoyed Art Malik’s portrayal of the extroverted Dr. Sir Bartholomew Strange. Although there were times when his performance struck me as a touch too jovial. Ronan Vibert gave a rather insidious, yet oddly charming performance as “gentleman” gambler Captain Freddie Dacres. The one performance that really impressed me came Kate Ashfield who gave a very interesting performance as playwright Anthony Astor aka Miss Muriel Wills. Ashfield did an excellent job in recapturing Miss Wills’ secretive, yet uber observant personality. The production also featured solid performances from Anastasia Hille, Tom Wisdom, Anna Carteret, Suzanne Bertish, and Tony Maudsley.

I do have a complaint about “THREE ACT TRAGEDY”. I really wish that Nick Dear had not changed the murderer’s main motive for the killings. I have heard rumors that there are two different versions of the story’s resolution. My literary version of “THREE ACT TRAGEDY” questioned the murderer’s sanity, making the murders a lot more interesting to me. Unfortunately, Nick Dear used the other resolution, one that struck me as a lot more mundane and not very interesting. Too bad.

Aside from changing the killer’s motive for the murders, I rather enjoyed “THREE ACT TRAGEDY”. I am thankful that screenwriter Nick Dear had made Hercule Poirot’s presence in the story more prominent than it was in the novel. After all, he is the story’s main investigator. But despite excellent acting and solid direction by Ashley Pearce, I would never regard it as one of my favorite productions from “AGATHA CHRISTIE’S POIROT”. It was simply a pretty good adaptation of a solid Christie novel. There is nothing else for me to say.

“TRUMBO” (2015) Review

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“TRUMBO” (2015) Review

I tried to think of a number of movies about the House Committee on Un-American Activities (HUAC) and the Hollywood Blacklist I have seen. And to be honest, I can only think of two of which I have never finished and two of which I did. One of those movies I did finish was the 2015 biopic about Hollywood screenwriter, Dalton Trumbo.

Based upon Bruce Alexander Cook’s 1977 biography, the movie covered fourteen years of the screenwriter’s life – from being subpoenaed to testify before the House Committee on Un-American Activities in 1947 to 1960, when he was able to openly write movies and receive screen credit after nine to ten years of being blacklisted by the Motion Picture Alliance for the Protection of American Ideals. Due to this time period, it was up to production designer Mark Rickler to visually convey fourteen years in Southern California – from the late 1940s to the early 1960s. I must say that he, along with cinematographer Jim Denault and art directors Lisa Marinaccio and Jesse Rosenthal did an excellent job by taking advantage of the New Orleans locations. That is correct. Certain areas around New Orleans, Louisiana stood for mid-century Los Angeles, California. But the movie also utilized a few locations in Southern California; including a residential house in northeastern Los Angeles, and the famous Roosevelt Hotel in the heart of Hollywood. And thanks to Denault’s cinematography, Rickler’s production designs not only made director Jay Roach’s “Southern California” look colorful, but nearly realistic. But one of my minor joys of “TRUMBO” came from the costume designs. Not only do I admire how designer Daniel Orlandi re-created mid-20th century fashion for the film industry figures in Southern California, as shown in the images below:

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I was especially impressed by Orlandi’s re-creation of . . . you guessed it! Columnist Hedda Hopper‘s famous hats, as shown in the following images:

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I have read two reviews for “TRUMBO”. Both reviewers seemed to like the movie, yet both were not completely impressed by it. I probably liked it a lot more than the two. “TRUMBO” proved to be the second movie I actually paid attention to about the Blacklist. I think it has to do with the movie’s presentation. “TRUMBO” seemed to be divided into three acts. The first act introduced the characters and Trumbo’s problems with the House Committee on Un-American Activities, leading to his being imprisoned for eleven months on charges of contempt of Congress, for his refusal to answer questions from HUAC. The second act focused on those years in which Trumbo struggled to remain employed as a writer for the low-budget King Brothers Productions, despite being blacklisted by the major studios. And the last act focused upon Trumbo’s emergence from the long shadow of the blacklist, thanks to his work on “SPARTACUS” and “EXODUS”.

I have only one real complaint about “TRUMBO”. Someone once complained that the movie came off as uneven. And I must admit that the reviewer might have a point. I noticed that the film’s first act seemed to have a light tone – despite Trumbo’s clashes with Hollywood conservatives and HUAC. Even those eleven months he had spent in prison seemed to have an unusual light tone, despite the situation. But once the movie shifted toward Trumbo’s struggles trying to stay employed, despite the blacklist, the movie’s tone became somewhat bleaker. This was especially apparent in those scenes that featured the screenwriter’s clashes with his family over his self-absorbed and strident behavior towards them and his dealings with fellow (and fictional) screenwriter Arlen Hird. But once actor Kirk Douglas and director Otto Preminger expressed interest in ignoring the Blacklist and hiring Trumbo for their respective movies, the movie shifted toward a lighter, almost sugarcoated tone again. Now, there is nothing wrong with a movie shifting from one tone to another in accordance to the script. My problem with these shifts is that they struck me as rather extreme and jarring. There were moments when I found myself wondering if I was watching a movie directed by two different men.

Another problem I had with “TRUMBO” centered around one particular scene that featured Hedda Hopper and MGM studio boss Louis B. Mayer. In this scene, Hopper forces Mayer to fire any of his employees who are suspected Communists, including Trumbo. The columnist did this by bringing up Mayer’s Jewish ancestry and status as an immigrant from Eastern Europe. This scene struck me as a blatant copy of one featured in the 1999 HBO movie, “RKO 281”. In that movie, Hopper’s rival, Louella Parsons (portrayed by Brenda Blethyn) utilized the same method to coerce – you guess it – Mayer (portrayed by David Suchet) to convince other studio bosses to withhold their support of the 1941 movie, “CITIZEN KANE”. Perhaps the filmmakers for “TRUMBO” felt that no one would remember the HBO film. I did. Watching that scene made me wonder if I had just witnessed a case of plagiarism. And I felt rather disappointed.

Despite these jarring shifts in tone, I still ended up enjoying “TRUMBO” very much. Instead of making an attempt to cover Dalton Trumbo’s life from childhood to death, the movie focused upon a very important part in the screenwriter’s life – the period in which his career in Hollywood suffered a major decline, due to his political beliefs. And thanks to Jay Roach’s direction and John McNamara’s screenplay, the movie did so with a straightforward narrative. Some of the film’s critics had complained about its sympathetic portrayal of Trumbo, complaining that the movie had failed to touch upon Trumbo’s admiration of the Soviet Union. Personally, what would be the point of that? A lot of American Communists did the same, rather naively and stupidly in my opinion. But considering that this movie mainly focused upon Trumbo’s experiences as a blacklisted writer, what would have been the point? Trumbo was not professionally and politically condemned for regarding the Soviet Union as the epitome of Communism at work. He was blacklisted for failing to cooperate with the House Committee on Un-American Activities.

Also, the movie did not completely whitewash Trumbo. McNamara’s screenplay did not hesitate to condemn how Trumbo’s obsession with continuing his profession as a screenwriter had a negative impact upon his relationship with his family – especially his children. It also had a negative impact with his relationship with fellow screenwriter (the fictional) Arlen Hird, who wanted Trumbo to use his work for the King Brothers to express their liberal politics. Trumbo seemed more interested in staying employed and eventually ending the Blacklist. I came away with the feeling that the movie was criticizing the screenwriter for being more interested in regaining his successful Hollywood career than in maintaining his politics.

“TRUMBO” also scared me. The movie scared me in a way that the 2010 movie, “THE CONSPIRATOR” did. It reminded me that I may disagree with the political or social beliefs of another individual; society’s power over individuals – whether that society came in the form of a government (national, state or local) or any kind of corporation or business industry – can be a frightening thing to behold. It can be not only frightening, but also corruptive. Watching the U.S. government ignore the constitutional rights of this country’s citizens (including Trumbo) via the House Committee on Un-American Activities scared the hell out of me. Watching HUAC coerce and frighten actor Edward G. Robinson into exposing people that he knew as Communists scared me. What frightened me the most is that it can happen again. Especially when I consider how increasingly rigid the world’s political climate has become.

I cannot talk about “TRUMBO” without focusing on the performances. Bryan Cranston earned a slew of acting nominations for his portrayal of Dalton Trumbo. I have heard that the screenwriter was known for being a very colorful personality. What is great about Cranston’s performance is that he captured this trait of Trumbo’s without resorting to hammy acting. Actually, I could say the same about the rest of the cast. Helen Mirren portrayed the movie’s villain, Hollywood columnist Hedda Hopper with a charm and charisma that I personally found both subtle and very scary. Diane Lane gave a subtle and very convincing performance as Trumbo’s wife Cleo, who not only stood by her husband throughout his travails, but also proved to be strong-willed when his self-absorption threatened to upset the family dynamics. Louis C.K., the comic actor gave a poignant and emotional performance as the fictional and tragic screenwriter, Arden Hird.

Other memorable performances caught my attention as well. Elle Fanning did an excellent job portraying Trumbo’s politically passionate daughter, who grew to occasionally resent her father’s pre-occupation with maintaining his career. Michael Stuhlbarg did a superb job in conveying the political and emotional trap that legendary actor Edward G. Robinson found himself, thanks to HUAC. Both John Goodman and Adewale Akinnuoye-Agbaje gave colorful and entertaining performances as studio head Frank King and Trumbo’s fellow convict Virgil Brooks, respectively. Stephen Root was equally effective as the cautious and occasionally paranoid studio boss, Hymie King. Roger Bart gave an excellent performance as fictional Hollywood producer Buddy Ross, a venal personality who seemed to lack Robinson’s sense of guilt for turning his back on the blacklisted Trumbo and other writers. David James Elliot gave a very interesting performance as Hollywood icon John Wayne, conveying the actor’s fervent anti-Communist beliefs and willingness to protect Robinson from Hedda Hopper’s continuing hostility toward the latter. And in their different ways, both Dean O’Gorman and Christian Berkel gave very entertaining performances as the two men interested in employing Trumbo by the end of the 1950s – Kirk Douglas and Otto Preminger.

I noticed that “TRUMBO” managed to garner only acting nominations for the 2015-2016 award season. Considering that the Academy Award tends to nominate at least 10 movies for Best Picture, I found it odd that the organization was willing to nominate the likes of “THE MARTIAN” (an unoriginal, yet entertaining feel-good movie) and “MAD MAX: FURY ROAD” (for which I honestly do not have a high regard) in that category. “TRUMBO” was not perfect. But I do not see why it was ignored for the Best Picture category, if movies like “THE MARTIAN” can be nominated. I think director Jay Roach, screenwriter John McNamara and a cast led by the always talented Bryan Cranston did an excellent job in conveying a poisonous period in both the histories of Hollywood and this country.

“Adapting AGATHA CHRISTIE”

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“ADAPTING AGATHA CHRISTIE”

Ever since the release of the BBC recent adaptation of Agatha Christie’s 1939 novel, “And Then There Were None”, television viewers and critics have been praising the production for being a faithful adaptation. In fact these critics and fans have been in such rapture over the production that some of them have failed to noticed that the three-part miniseries was not completely faithful. As long as the production followed Christie’s original ending, they were satisfied.

Mind you, I thought this new production, “AND THEN THERE WERE NONE” was top notch, I have found myself growing somewhat annoyed over this attitude. Why do so many people insist that a movie/television production should be faithful to the novel it is adapting? I honestly believe that it should not matter. Not really. I believe that sometimes, it’s a good thing to make some changes from the original novel (or play). Sometimes, it’s good to remain faithful to the source novel. Sometimes, what is in a novel does not translate well to the television or movie screen.

A good example are the two adaptations of Christie’s 1941 novel, “Evil Under the Sun”. The 1982 adaptation, which starred Peter Ustinov as Hercule Poirot, made some major changes in regard to characters and a minor subplot. The 2001 television adaptation, which starred David Suchet, was somewhat more faithful . . . but not completely. In my personal view, I believe that the Ustinov version was a lot better . . . more entertaining. Why? If I have to be brutally honest, I am not a big fan of Christie’s 1941 novel. No matter how many times I tried to like it (and I tried), it simply bored me.

In regard to the adaptations of “And Then There Were None”, there are only two adaptations that I really enjoyed – Rene Clair’s 1945 adaptation and this new version. The 1945 film is actually an adaptation of the 1943 stage play written by Christie. Because the play first opened in the middle of World War II, Christie had decided to change the ending in order to spare wartime theater goers the story’s nihilistic ending. Two years later, director Rene Clair and 20th Century Fox decided to adapt Christie’s stage play, instead of the novel. Several other movie adaptations – including the 1996 and the 1974 – did the same. As far as I know, only the Russian 1987 adaptation followed Christie’s original ending.

And how do I care about these numerous adaptations? I have seen both the 1966 and 1974 movies. I am not a fan of either. Personally, I found them rather cheap. I have never seen the 1987 Russian film. As for the 1945 and 2015 versions . . . I am a big fan of both. That’s right . . . both of them. I do not care that 2015 miniseries stuck to Christie’s original novel, despite some changes, and Clair’s 1945 movie did not. I simply happen to enjoy BOTH versions. Why? Both versions were made with skill and style. And I found both versions fascinating, despite the fact that they have different endings.

I do not believe it should matter that a movie or television ALWAYS adhere to the novel it is adapting. What should matter is whether the director, writer or both are wise enough to realize whether it is a good idea to be completely faithful or to make changes . . . for the sake of the production. If producer John Bradbourne and director Guy Hamilton can make a superior adaptation of “Evil Under the Sun” by utilizing major changes to Christie’s original story and if there can be two outstanding versions of “AND THEN THERE WERE NONE” . . . with different endings, I really do not see the need for any film or television production to blindly adhere to every aspect of a novel it is adapting.

Top Ten Favorite TRAVEL DOCUMENTARIES

Below is a list of my favorite television travel documentaries in the past twenty to thirty years:

TOP TEN FAVORITE TRAVEL DOCUMENTARIES

1. “Long Way Down” (2007) – Ewan McGregor and Charley Boorman embarked on their second motorcycle journey, traveling from John o’Groats, Scotland to Cape Town, South Africa; via Europe and Africa. This was a follow-up to their 2004 trip across Eurasia and North America.

2. “Michael Palin: Around the World in 80 Days” (1989) – Inspired by Jules Verne’s 1873 novel, comedian-actor Michael Palin embarked upon a journey around the world within 80 days, without the use of air travel during the fall of 1988.

3. “Long Way Round” (2004) Ewan McGregor and Charley Boorman embarked upon their first motorcycle journey in which they traveled from London to New York City, via Eurasia and North America.

4. “David Suchet on the Orient Express” (2010) – As he prepares for an adaptation of Agatha Christie’s famous 1934 novel, actor David Suchet embarks on a journey across Europe on the famed Orient Express train.

5. “Five Takes: Pacific Rim” (2006) – In Season Two of the Travel Channel series, “FIVE TAKES”, five young American “travel journalists” traveled to different countries around the Pacific Rim.

6. “Himalaya with Michael Palin” (2004) – Actor-comedian Michael Palin embarked upon a six-month, 3,000 miles trip throughout the Himalaya mountain range.

7. “Moms on the Road: Africa” (2006) – The BBC America produced this special about eight American mothers who traveled to and explored various countries in Southern Africa.

8. “Sahara with Michael Palin” (2002) – Michael Palin hit the road when he traveled through various countries around the Sahara Desert in Northern and Western Africa.

9. “Jeremy Piven’s Journey of a Lifetime” (2006) – Actor Jeremy Piven embarked upon a journey from Northern to Southern India.

10. “Pacific Journey: Adventures of a Musical Mariner” (1989) – This two-part documentary featured the late composer David Fanshawe’s ten year journey around the southern Pacific Rim, when he documented the music and oral traditions of Polynesia, Micronesia and Melanesia for his incomplete choral work, “Pacific Odyssey”.

“PERIL AT END HOUSE” (1990) Review

“PERIL AT END HOUSE” (1990) Review

I just realized something. I have never read Agatha Christie’s 1932 novel, “Peril at End House”. I find this ironic, considering that I have seen the 1990 television movie adaptation of this novel at least three or four times. One of these days, I will get around to reading Christie’s novel and comparing it to the television adaptation. Right now, I am going to focus on the latter.

Directed by Renny Rye and adapted by Clive Exton, “PERIL AT END HOUSE” is the first full-length television movie aired on“AGATHA CHRISTIE’S POIROT”. It is also about Belgian-born detective Hercule Poirot’s efforts to prevent the murder of a young socialite, during his vacation in Cornwall. The movie begins with Poirot and his friend Arthur Hastings arriving at a Cornish seaside resort for their vacation. While conversing with socialite Magdala “Nick” Buckley on the resort’s grounds, Poirot notices that someone had fired a bullet into the brim of her floppy hat. Poirot exposes the bullet hole to Nick, who finds it difficult to believe that someone wants to kill her. She points out that aside from her house – End House – has no real assets. Poirot decides to investigate her inner circle, who includes the following:

*Charles Vyse – Nick’s cousin and an attorney
*Mr. and Mrs. Croft – an Australian couple that has leased the lodge near End House, who had suggested Nick make a will six months earlier
*Freddie Rice – a close friend of Nick’s, who is also an abused wife
*Jim Lazarus – an art dealer in love with Nick
*Commander George Challenger – a Royal Navy officer who is also attracted to Nick

Poirot eventually advises Nick to invite a relative to stay with her for a few weeks. Nick invites her distant cousin Maggie Buckley. Unfortunately, someone kills Maggie, after she makes the mistake of wearing Nick’s dress shawl during an evening party. Even worse, the killer eventually achieves his/her goal by sending a box of poisoned chocolates to Nick, while she was recuperating at a local hospital.

“PERIL AT END HOUSE” possessed a certain plot device that Christie had used in several of her novels. I would describe this plot device. But to do so would spoil the rest of the story. It took me years to spot this plot device. And I should be surprised that I have not come across anyone else who has spotted it. And yet . . . I am not. The fact that it took me several years to spot this particular plot device only tells me that Christie has utilized it with great effect in some of her more interesting and well-written mysteries. Thankfully, “PERIL AT END HOUSE” proved to be one of those well-written mysteries.

I must admit that Clive Exton did a pretty damn good job in adapting Christie’s novel for the television screen. He stuck very closely to the original novel’s plot . . . with a few changes that did no harm to the overall movie. Both Exton and Rye presented a well-paced production to the audiences. They set up the story with Poirot and Hastings’ arrival to Cornwall and continued on with without any haste or dragging feet. The only time the movie threatened to put me to sleep occurred between the story’s second murder and the revelation of the killer . . . . when the story threatened to ground to a halt. I have one last problem – namely the appearance of Chief Inspector Japp. I realize that Japp did appear in the novel. But his appearance merely dealt with Poirot’s request that he investigate the Crofts, whom the Belgian detective suspected of being forgers. The cinematic Japp immediately appeared following Maggie Buckley’s death as the main police investigator. And Cornwall is not under Scotland Yard’s main jurisdiction.

The production values for “PERIL AT END HOUSE” proved to be top-notch. Rye shot the film’s exterior scenes in Salcombe, Devon; instead of the county of Cornwall. I found that curious. However, both he and cinematographer Peter Bartlett certainly took advantage of the movie’s setting with Bartlett’s photography of Salcombe’s charming, Old World style. This was especially apparent in the movie’s opening sequence that featured Poirot and Hasting’s arrival by airplane. Actually, production designer Mike Oxley did an excellent job of recreating an English vacation resort in the early 1930s. The production practically reeked of the Art Deco style of that time period. However, I was especially impressed by Linda Mattock’s costume designs. I was especially impressed by those costumes worn by actresses Polly Walker, Pauline Moran and Alison Sterling. My only complaints about the movie’s visual styles were the actresses’ hairstyles. No one seemed capable of re-creating the early 1930s soft bob. The actresses either wore a chignon or in the case of Sterling, a Dutch Boy bob made famous by actress Louise Brooks in the late 1920s.

“PERIL AT END HOUSE” featured some solid performances by the cast. David Suchet gave his usual excellent portrayal of Hercule Poirot. I was especially impressed by the on-screen chemistry he managed to produce with Polly Walker. The latter gave a standout performance as the killer’s main target, Madgala “Nick” Buckley. Walker did an excellent job of transforming Nick from the charming “Bright Young Thing” to a wary and frightened woman, who realizes that someone is trying to kill her. Alison Sterling was also excellent as one of Nick’s closest friends, “Freddie” Rice. Next to Walker’s Nick, Sterling gave an interesting and skillful portrayal of the very complex Freddie. Hugh Fraser, Pauline Moran and Philip Jackson were also excellent as Arthur Hastings, Miss Lemon and Chief Inspector Japp. All three, along with Suchet, managed to re-create their usual magic. The movie also featured solid performances from Paul Geoffrey (whom I found particularly convincing as an early 30s social animal), John Harding, Christopher Baines and Elizabeth Downes. I found the Australian accents utilized by Jeremy Young and Carol Macready, who portrayed the Crofts, rather wince inducing. But since their accents were supposed to be fake in the first place, I guess I had no problems.

For some reason, “PERIL AT END HOUSE” has never become a big favorite of mine. It is a well done adaptation of Christie’s novel. And I found it visually attractive, thanks to the movie’s production team. The movie also featured some excellent performances – especially from David Suchet, Polly Walker and Alison Sterling. Naturally, it is not perfect. But that is not the problem. I cannot explain my lack of enthusiasm for “PERIL AT END HOUSE”. I can only assume that I found nothing particularly mind blowing or fascinating about its plot. It is simply a good, solid murder mystery that has managed to entertain me on a few occasions. Perhaps . . . that is enough.

“THE MURDER OF ROGER ACKROYD” (2000) Review

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“THE MURDER OF ROGER ACKROYD” (2000) Review

As many fans of Agatha Christie are aware, one of her most highly acclaimed and controversial novels is “The Murder of Roger Ackroyd”. I had checked the Internet to see how many adaptations had been made from well-regarded tale. I was surprised to learn there were at least seven adaptations, considering its difficult plot twist. The third to the last adaptation proved to be the last adaptation was the 103-minute television movie that aired on ITV’s “AGATHA CHRISTIE’S POIROT” in 2000.

“THE MURDER OF ROGER ACKROYD” seemed like your typical Christie novel. After retiring to the small village of King’s Abbott, Belgian-born detective Hercule Poirot stumbles across a mystery in which an old friend of his, an industrialist named Roger Ackroyd has been murdered. Sometime earlier, another friend of Ackroyd, a widow named Mrs. Ferrars, had committed suicide when she is suspected of killing her husband. Another murder occurs before Poirot, with the help of Chief Inspector Japp and local physician Dr. James Sheppard, solves the murder.

Screenwriter Clive Exton made some changes to Christie’s novel. He deleted a few characters, changed Poirot’s relationship with Ackroyd from simply neighbor to old friend, and added Chief Inspector Japp to the cast of characters. This last change greatly affected the story’s narrative. Christie’s novel was narrated by the Dr. Sheppard character. By having Japp replace him as Poirot’s closest ally, Exton nearly made Dr. Sheppard irrelevant. Exton ended up doing the same to a character in 2001’s “MURDER IN MESOPOTAMIA”, when he added Arthur Hastings to the story, allowing the story’s true narrator, Nurse Amy Leatheran to become irrelevant. However, the addition of Japp to “THE MURDER OF ROGER ACKROYD” transformed Christie’s story from a unique tale, to something . . . well, rather typical. With the addition of Japp, the story became another typical Christie murder mystery set in a small village. Pity.

I also believe that Exton damaged Christie’s original narrative even further with other major changes. One, he revealed major hints of the killer’s identity before Poirot could expose the former. And once the killer was exposed, audiences were subjected to a theatrical and rather silly chase scene throughout Ackroyd’s factoy, involving the police. And if I must be honest, I found myself wondering why on earth Poirot had decided to retire as a detective and move to the country in the first place. How long had he been gone before his reunion with Chief Inspector Japp?

Was there anything I like about “THE MURDER OF ROGER ACKROYD”? I thought it was a tasteful movie, thanks to Rob Harris’ production designs that beautifully recaptured rural England in the mid-1930s. His work was ably complimented by Katie Driscoll’s art direction, and Charlotte Holdich’s costume designs. In fact, I can honestly say that the latter did a first-rate job in not only creating costumes for that particular era, but specifically for each character. Although some of Exton’s narrative changes robbed the story of its famous plot twist and featured a badly-handled revelation of the murderer, I will give kudos to the screenwriter for creating a plausible murder mystery that made it somewhat difficult for any viewer not familiar with Christie’s novel, to guess the killer’s identity . . . to a certain point.

The movie also featured some solid performances. David Suchet gave his usual competent performance as Hercule Poirot. He had one rather amusing scene in which the Belgian detective struggled with the vegetable marrows in his garden. I could say the same about Philip Jackson’s performance as Inspector Japp. Both Oliver Ford-Davies and Selina Cadell were amusing as the much put upon Dr. James Sheppard and his very nosy sister, Caroline. I read somewhere that the Caroline Sheppard character may have been a forerunner of the Jane Marple character. Malcolm Terris gave a very emotional performance as the story’s victim, Roger Ackroyd. Both Daisy Beaumont and Flora Montgomery were also effectively emotional as Ursula Bourne and Flora Ackroyd (the victim’s niece) – the two women in the life of Ralph Paton, Ackroyd’s stepson and major suspect. Speaking of the later, Jamie Bamber gave a solid performance as Ralph. But honestly, he did not exactly rock my boat. However, I was impressed by Roger Frost’s portrayal of Ackroyd’s butler, Parker. I thought he did a very good job in portraying the different aspects of the competent, yet rather emotional manservant.

Looking back, I really wish that Clive Exton had maintained Christie’s narrative style for this television adaptation of her 1926 novel. I believe it could have been possible. By changing the narrative style and adding the Chief Inspector Japp character to the story, Exton transformed “THE MURDER OF ROGER ACKROYD” from a unique story to a typical Christie murder mystery. Pity.

“MRS. McGINTY’S DEAD” (2008) Review

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“MRS. McGINTY’S DEAD” (2008) Review

Since it first aired on television, I must admit that I have paid scant attention to “MRS. McGINTY’S DEAD”, ITV’s 2008 adaptation of Agatha Christie’s 1952 novel. I find this amazing, since the novel has always been a favorite of mine. I am not claiming that the 2008 movie is terrible. I was simply distracted by other matters during my last two viewings. This third viewing proved to be the charmed and I finally was able to ascertain the movie’s quality. 

Unlike its literary source, “MRS. McGINTY’S DEAD” was not set in the early 1950s. Because the television adaptation was an episode of “AGATHA CHRISTIE’S POIROT”, screenwriter Nick Dear transform the setting to the 1930s. There is some unwritten rule for the series’ producers that all “POIROT” adaptations had to be set during that decade. Why . . . I do not know or understand to this day. However, changing the story’s setting to another decade did not harm it, unlike“THIRD GIRL” or “TAKEN AT THE FLOOD”. Dear also remove a few characters – including two from a newspaper article that is featured in the plot. And the literary characters of Maude Williams and Dierde Henderson are merged into one – Maude Williams. Fortunately, these changes had no negative impact upon the story.

In “MRS. McGINTY’S DEAD”, the lodger of a dead charwoman is convicted of her murder and sentenced to be executive. Superintendent Spence, the case’s investigating officer, suspects that James Bentley is innocent of Mrs. McGinty’s murder and asks Hercule Poirot to investigate the case for him. Poirot travels to the village of Broadhinny and discovers that Mrs. McGinty had often worked as a cleaner at the houses of people in the village. He also discovers among her possessions a newspaper published a few days before her death and that a particular article had been cut out, which he later discovers was about four women connected with famous murder cases. Mrs. McGinty had also purchased a bottle of ink from a local shop. Poirot concludes that Mrs. McGinty had recognized one of the four women and had written to the newspaper for more information. One of Mrs. McGinty’s cleaning learned of her discovery and killed her before she could talk.

After my recent viewing of “MRS. McGINTY’S DEAD”, I realized that I did this movie a disservice by paying scant attention to it during my earlier viewings. The movie proved to be very entertaining and a worthy adaptation of a novel that has long been a favorite of mine. First of all, Christie created an intriguing, yet entertaining mystery that kept me guessing, until the last pages. And both Dear and director Ashley Pierce did an excellent job in translating Christie’s story to the screen, maintaining its drama with links to the mysterious past and humor. Speaking of the latter, “MRS. McGINTY’S DEAD” proved to be one of the funniest Poirot mysteries I have ever come across. Since this story is a “village mystery”, a rarity for a Poirot story, audiences get to witness the Belgian-born sleuth struggle as a guest at an untidy country manor-turned-guesthouse. The movie also dealt with Ariadne Oliver’s frustrating collaboration with a playwright, who wants to adapt (meaning change) one of her Sven Hjerson novels. And the movie provides plenty of laughs from both story arcs. I do have one major regret regarding Dear and Pierce’s adaptation of Christie’s novel – they never included that fabulous scene in which Poirot revealed the murderer by giving the latter a major scare with the murder weapon. It was such a memorable scene that I felt some regret that it had not been included in the movie.

The production values for “MRS. McGINTY’S DEAD” seemed top notch. Production designer Jeff Tessler and his team did an excellent job in re-creating the English countryside of the 1930s. His work was solidly supported by Miranda Cull and Paul Spriggs’ art direction and especially Sheena Napier’s costume designs. I was especially impressed by the fact that Napier did not go over-the-top with her costumes, considering the movie’s village setting. I wish I could be just as complimentary about Alan Almond’s photography. Mind you, I found his photography beautiful and rich in color. But there were scenes I wish had been filmed with more light. And I could have done without the soft-focus photography.

David Suchet gave one of his funniest performances as Poirot in this movie. Mind you, he perfectly conveyed Poirot’s pragmatic nature, intelligence and detective skills. But Suchet was hilarious as the long-suffering Poirot forced to deal with the incompetent housekeeping skills of his hosts, the Summerhayes. Zoë Wanamaker gave an equally hilarious as mystery novelist Ariadne Oliver, forced to endure playwright Robin Upward’s changes in the stage adaptation of one of her novels. And both Suchet and Wanamaker once again created magic whenever they appeared together on the screen.

“MRS. McGINTY’S DEAD” also featured some first-rate supporting performances. After his first appearance in 2006’s“TAKEN AT THE FLOOD”, Richard Hope returned as Superintendent Harold Spence, the police investigator whose dissatisfaction with James Bentley’s conviction, drew Poirot into the McGinty case. He gave a solid performance, just as he did in the 2006 movie. However, both his performance and the character did not knock my socks off. And Amanda Root’s portrayal of the doctor’s wife, Mrs. Rendell, seemed a bit over-the-top. But I did enjoy Raquel Cassidy, Mary Stockley, Sarah Smart and Paul Rhys’s performances. The latter was especially funny as the pretentious playwright, Robin Upward, who drove Mrs. Oliver crazy. But the two performances that really impressed me came from Joe Absolom, who was interesting as the wrongly convicted and anemic lodger James Bentley; and Siân Phillips, who portrayed the enigmatic and secretive Mrs. Upward with great skill and mystery.

In the end, “MRS. McGINTY” proved to be a first-rate adaptation of the 1952 novel. In fact, it was a lot better than I remembered from my first (and second) viewing. I thought it was well written by Nick Dear and directed with skill by Adrian Pearce. Most of all, it featured hilarious performances by both David Suchet and Zoë Wanamaker, who re-ignited their screen chemistry with great ease. I really enjoyed this film.

“DUMB WITNESS” (1996) Review

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“DUMB WITNESS” (1996) Review

There is a belief among fans of the “AGATHA CHRISTIE’S POIROT” series that the episodes and television movies that aired between 1989 and 2001 – ones that featured Arthur Hastings, Chief Inspector Japp and Miss Lemon – were more faithful adaptations of Agatha Christie’s novels that the more recent ones that have aired since 2003. I do not know if I agree with this opinion, especially after viewing the 1996 television movie, “DUMB WITNESS”

Screenwriter Douglas Watkinson’s script more or less remained faithful to the 1937 novel’s main narrative. Surrounded by grasping young relatives is a wealthy elderly woman named Emily Arundell. One night, she is injured after suffering a fall on the staircase of her home. Many believe that she had tripped over a ball by pet fox terrier, Bob. Emily later dies of what many believed to be natural causes before Poirot could meet her. And her estate was unexpectedly left to her companion, Miss Lawson. “DUMB WITNESS” remained faithful to that aspect of Christie’s novel. I suspect that many fans of the “POIROT” would be surprised at the number of changes Watkinson and director Edward Bennett made to the story.

I wish I could go into detail about the number of changes Bennett made to Christie’s story, but I suspect that would require an essay. I do know that in the novel, Hercule Poirot never met the victim, Emily Arundell. Instead, she had written a letter to him, claiming that someone was trying to kill her. By the time Poirot arrived at her home, she had been dead for some time, due to a delay in the delivery of her letter. The novel was also set in Berkshire. One of Emily’s nieces, Therese Arundell, was engaged to a Dr. Donaldson. Hastings ended up with Bob, Emily’s pet terrier. And the murderer committed suicide before being exposed by Poirot. Bennett changed the story’s setting to England’s Lake District, due to rewriting the Charles Arundell character into a motor boat racer and speed demon. Therese did not have a fiance in this movie. Instead, the beau of Emily’s companion, Wilhelmina Lawson, is a medical man named Dr. Greinger. Charles Arundell’s new profession led to Poirot and Hastings’ visit to the Arundell home in order to witness the racer attempt a new speed record. Because of this visit, Poirot met Emily Arundell before she was murdered. And the killer never got the opportunity to commit suicide in order to avoid prison.

I have never read Christie’s 1937 novel. But if it turned out to be better than this television adaptation of it, I look forward to reading it. As one would guess, I enjoyed “DUMB WITNESS” very much. It proved to be an enjoyable story that recaptured the provincial charm of the Lake District. The story provided certain elements of rural English life and society in the 1930s that contributed nicely to the story’s main narrative. “DUMB WITNESS” provided peaks into early 20th century’s penchant for speed due to the rise of motorized vehicles and the Charles Arundell character. It also provided glimpses into British spiritualism, due to the Tripp sisters, Emily’s elderly neighbors with an obssession with spiritualism and the occult.

A good number of Christie novels and adaptations have revealed British xenophobia against foreigners – especially in the bigoted attitudes of British characters toward Poirot. But the xenophobic attitude in “DUMB WITNESS” seemed to have grown worse in the characters’ attitude toward Emily’s nephew-in-law, the Greek-born doctor, Dr. Jacob Tanios. He is married to Emily’s other niece, Bella Arundell Tanios. Emily seemed to be the only character who actually liked Dr. Tanios. Poirot seemed to be put off by his brusque manner. One can say the same about Hastings, who also automatically labeled Tanios as Emily’s killer. I had this odd feeling that Hastings’ lack of tolerance toward Tanios not only originated from the latter’s brusque personality, but also the fact that he came from Eastern Europe, which is regarded as the continent’s backwater. The interesting aspect about the xenophobic attitude depicted in “DUMB WITNESS” was that it struck me as very disturbing, yet at the same time, not too heavy-handed. Kudos to both the screenwriter and the director.

“DUMB WITNESS” featured some solid performances by the cast. But there were a few performances that I found rather exceptional. David Suchet was impeccable, as usual, in his portrayal of Belgian detective. Hugh Fraser gave one of his better performances as Captain Arthur Hastings, revealing the character’s mild xenophobia with great subtlety. Ann Morrish did an excellent job in conveying the strong-willed presence of the elderly Emily Arundell. Julia St. John gave a memorable performance as Emily’s mild-mannered niece, Bella, who seemed to be in terror of her foreign-born husband. And I was also impressed by Paul Herzberg’s portrayal of Jacob Tanios. He did an excellent job of revealing how his character’s brusque manner hid a personality intimidated by the hostility he was forced to face in a foreign country. I am not going to pretend that I am a person that likes having pets. I do not. But I could not help but fall in love with Snubby, the fox terrier, who portrayed Bob, one of the cutest dogs I have ever seen on television or in a movie.

Overall, I would say that “DUMB WITNESS” was an entertaining adaptation of Christie’s novel. Thanks to director Edward Bennett and screenwriter Douglas Watkinson and a cast led by David Suchet, it was a solid and classy affair that also provided a surprisingly deeper look into British xenophobia.

“MURDER IN MESOPOTAMIA” (2001) Review

“MURDER IN MESOPOTAMIA” (2001) Review

One can categorize the “AGATHA CHRISTIE’S POIROT” television movies into two categories. The ones made between 1989 and 2001, featured the supporting characters Captain Arthur Hasting, Miss Lemon (Hercule Poirot), and Chief Inspector Japp. The ones made post-2001 sporadically featured the mystery writer, Adriande Oliver. The very last television movie that featured Poirot’s close friend, Hastings, turned out to be 2001’s “MURDER IN MESOPOTAMIA”.

Based upon Agatha Christie’s 1936 novel, “MURDER IN MESOPOTAMIA” told of Hercule Poirot’s investigation into the murder of Louise Leidner, the wife of an American archeologist named Dr. Leidner. The story began with Poirot’s arrival in Iraq, who is there to not only visit his friend Captain Arthur Hastings, but also meet with a Russian countess of a past acquaintance. Hastings, who is having marital problems, is there to visit his nephew Bill Coleman, one of Dr. Leidner’s assistants. Upon his arrival at the dig, Poirot notices the tension between Mrs. Leidner and the other members of her husband’s dig – especially with Richard Carey and Anne Johnson, Dr. Leidner’s longtime colleagues.

Both Poirot and Hastings learn about the series of sightings that have frightening Mrs. Leidner. The latter eventually reveals that she was previously married to a young U.S. State Department diplomat during World War I named Frederick Bosner, who turned out to be a spy for the Germans. Mrs. Leidner had betrayed Bosner to the American government before he was arrested and sentenced to die. But Bosner managed to escape, while he was being transported to prison. Unfortunately, a train accident killed him. Fifteen years passed before Louise eventually married Dr. Leidner. Not long after Poirot learned about the lady’s past, someone killed her with a deadly blow to her head with a blunt instrument.

Many Christie fans claim that the 1989-2001 movies were superior to the later ones, because these movies were faithful to the novels. I have seen nearly every “POIROT” television movie in existence. Trust me, only a small handful of the 1989-2001 movies were faithful. And “MURDER IN MESOPOTAMIA” was not one of them. First of all, Arthur Hastings was not in the 1936 novel. Which meant that Bill Coleman’s was not Hasting’s nephew. Poirot’s assistant in Christie’s novel was Louise Leidner’s personal nurse, Amy Leatheran. In the 2001 movie, she was among the main suspects. There were other changes. Dr. Leidner’s nationality changed from Swedish to American. Several characters from the novel were eliminated.

I only had a few quibbles about “MURDER IN MESOPOTAMIA”. One, I found Clive Exton’s addition of Captain Hastings unnecessary. I realize that the movie aired during the last season that featured Hastings, Chief Inspector Japp and Miss Lemon. But what was the point in including Hastings to the story? His presence merely served as a last touch of nostalgia for many fans of the series and as an impediment to the Amy Leatheran character, whose presence was reduced from Poirot’s assistant to minor supporting character. Two, I wish that the movie’s running time had been longer. The story featured too many supporting characters and one too many subplots. A running time of And if I must be brutally honest, the solution to Louise Leidner’s murder struck me as inconceivable. One has to blame Agatha Christie for this flaw, instead of screenwriter Clive Exton. I could explain how implausible the murderer’s identity was, but to do so would give away the mystery.

But I still enjoyed “MURDER IN MESOPOTAMIA”. Clive Exton did the best he could with a story slightly marred by First of all, I was impressed by the production’s use of Tunisia as a stand-in for 1933-36 Iraq. Rob Hinds and his team did an excellent job in re-creating both the setting and era for the movie. They were ably assisted by Kevin Rowley’s photography, Chris Wimble’s editing and the art direction team – Paul Booth, Nigel Evans and Henry Jaworski. I was especially impressed by Charlotte Holdich’s costume designs that perfectly recaptured both the 1930s decade and the movie’s setting in the Middle East.

David Suchet gave his usual top-notch performance as Hercule Poirot. I am also happy to include that he managed to avoid some of his occasional flashes of hammy acting during Poirot’s revelation scene. Hugh Fraser gave his last on-screen performance as Arthur Hastings (so far). And although I was not thrilled by the addition of the Hastings character in the movie, I cannot deny that Fraser was first rate. Five other performances really impressed me. Ron Berglas was perfectly subtle as the quiet and scholarly Dr. Leidner, who also happened to be in love with his wife. Barbara Barnes wisely kept control of her portrayal of Louise Leidner, a character that could have easily veered into caricature in the hands of a less able actress. I also enjoyed Dinah Stabb’s intelligent portrayal of Anne Johnson, one of Dr. Leidner’s colleagues who happened to be in love with him. Christopher Bowen did an excellent job of keeping audiences in the dark regarding his character’s (Richard Mason) true feelings for Mrs. Leidner. And Georgina Sowerby injected as much energy as possible into the role of Amy Leatharan, a character reduced by Exton’s screenplay.

“MURDER IN MESOPOTAMIA” was marred by a running time I found too short and an implausible solution to its murder mystery. But it possessed enough virtues, including an excellent performance by a cast led by David Suchet, an interesting story and a first-rate production team; for me to consider it a very entertaining movie and one I would not hesitate to watch over again.

“All Aboard the Orient Express”

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Below is a look at two major movies and a television movie that featured journeys aboard the famed Orient Express:

 

“ALL ABOARD THE ORIENT EXPRESS”

I will be the first to admit that I am not one of those who demand that a novel, a movie or a television production to be historically accurate. Not if history gets in the way of the story. But there is an anal streak within me that rears its ugly head, sometimes. And that streak would usually lead me to judge just how accurate a particular production or novel is.

Recently, I watched three movies that featured a journey aboard the legendary train, the Orient Express. Perhaps I should be a little more accurate. All three movies, “MURDER ON THE ORIENT EXPRESS” (1974)“MURDER ON THE ORIENT EXPRESS” (2010) and “FROM RUSSIA WITH LOVE” (1963) featured a famous route that came into existence nearly a year following World War I called the Simplon Orient Express. The original route for the Orient Express stretched from Paris to Istanbul via Strasbourg, Munich, Vienna, Budapest and Bucharest. Then in 1919, Compagnie Internationale des Wagons-Lits introduced a more southerly route, due to the opening of the Simplon Tunnel. This route stretched between Paris and Istanbul, via Lausanne, Milan, Venice, Belgrade and Sofia. Writers Agatha Christie and Ian Fleming made the Simplon Orient Express route famous thanks to their novels, “Murder on the Orient Express” (1934) and “From Russia With Love” (1957). And the movie adaptations of these novels increased the route’s fame.

Both Christie and Fleming’s novels featured the Simplon Orient Express’ route from Istanbul to Yugoslavia. There are reasons why their stories do not stretch further west to as far as at least France. In “Murder on the Orient Express”, the train became stuck in a snowdrift in Yugoslavia and detective Hercule Poirot spent the rest of the novel trying to solve the murder of an American passenger. And in “From Russia With Love”, British agent James Bond and his companion, Tatiana Romanova, made it as far as either Italy or France. The 1974 and 2010 adaptations of Christie’s novel, more or less remained faithful to the latter as far as setting is concerned. However, EON Production’s 1963 adaptation of Fleming’s novel allowed Bond and Tatiana to escape from the train before it could cross the Yugoslavia-Italy border.

While watching the three movies, I discovered that their portrayals of the Simplon Orient Express route were not completely accurate. I can imagine the thoughts running through the minds of many, declaring “Who cares?”. And I believe they would be right to feel this way. But I thought it would be fun to look into the matter. Before I do, I think I should cover a few basics about this famous train route from Istanbul to Paris-Calais.

During its heyday, the Orient Express usually departed from Istanbul around 11:00 p.m. Following the rise of the Iron Curtain after World War II, the Orient Express extended it route to stops in Greece in order to avoid the Soviet-controlled countries. The only Communist country it passed through was Yugoslavia. When the train became the slower Direct Orient Express in 1962, it usually departed Istanbul around 4:15 p.m. I do not know whether a restaurant car and/or a salon “Pullman” car was attached to the Direct Orient Express when it departed Istanbul between 1962 and 1977. One last matter. In the three adaptations of the two novels, the Orient Express usually made a significant stop at Belgrade. It took the Orient Express, during its heyday, at least 23 to 24 hours to travel from Istanbul to Belgrade.

Let us now see how accurately the two “MURDER ON THE ORIENT EXPRESS” movies and the 1963 “FROM RUSSIA WITH LOVE” flick accurately portray traveling aboard the Simplon Orient Express (or Direct Orient Express) on film. I will begin with the “MURDER ON THE ORIENT EXPRESS”, the 1974 adaptation of Agatha Christie’s novel.

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“MURDER ON THE ORIENT EXPRESS” (1974)

Following the conclusion of a successful case for the British Army somewhere in the Middle East, Belgian-born detective is on his way home to London, via a train journey aboard the famed Orient Express. When an American businessman named Samuel Rachett is murdered during the second night aboard the train, Poirot is asked by his friend and director of the Compagnie Internationale des Wagons-Lits, Senor Bianchi, to investigate the crime.

In this adaptation directed by Sidney Lumet, the Simplon Orient Express that left Istanbul did so at 9:00 at night. The movie also included a dining car attached to the train. One scene featured a chef examining food being loaded onto the train. This scene is erroneous. According to the The Man in Seat 61 website, there was no dining car attached to the train when it left Istanbul. A dining car was usually attached at Kapikule on the Turkish/Bulgarian border, before it was time to serve breakfast. The movie also featured a salon car or a “Pullman”, where Hercule Poirot interrogated most of the passengers of the Istanbul-Calais car.

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According to the “Seat 61” site, there was no salon “Pullman” car attached to the train east of Trieste, Italy. Christie needed the presence of the car for dramatic purposes and added one into her novel. The producers of the 1974 movie did the same. At least the producers of the 1974 used the right dark blue and cream-colored car for the Pullman. More importantly, they used the right dark blue cars for the train’s sleeping coaches, as shown in the image below:

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In the movie, the Simplon Orient Express reached Belgrade 24 hours after its departure from Istanbul. For once, the movie was accurate. Somewhere between Vinkovci and Brod, the Orient Express ended up snowbound and remained there until the end of the story.

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“MURDER ON THE ORIENT EXPRESS” (2010)

This adaptation of Agatha Christie’s novel first aired on Britain’s ITV network in 2010. The television movie started with Hercule Poirot berating a British Army officer caught in a devastating lie. After the officer commits suicide, Poirot ends up in Istanbul, where he and a British couple witness the stoning of an adulterous Turkish woman. Eventually, the couple and Poirot board the Orient Express, where the latter finds himself investigating the murder of an American passenger.

I do not know what time the Simplon Orient Express departed Istanbul in this adaptation. The movie never indicated a particular time. This version also featured a brief scene with a chef examining food being loaded aboard a dining car. As I previously mentioned, a dining car was not attached until Kapikule. The movie did feature Poirot and some of the Istanbul-Calais car passengers eating breakfast the following morning. In this scene, I noticed a major blooper. Car attendant Pierre Michel was shown serving a dish to Poirot in the dining car. Note the images below:

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Pierre Michel greets Poirot and M. Bouc before they board the train

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Pierre serves breakfast to Poirot

Why on earth would a car attendant (or train conductor, as he was in the 1934 novel) act as a waiter in the dining car? Like the 1974 movie, the ITV adaptation also featured a salon “Pullman” attached to the train, east of Italy. In fact, they did more than use one salon “Pullman”. As I had stated earlier, the westbound Simplon Orient Express usually acquired a salon “Pullman” after its arrival in Trieste. But in this adaptation, the producers decided to use the dark blue and cream-colored “Pullman” cars for the entire train as shown in these images:

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This is completely in error. As I had stated earlier, the Orient Express usually featured a dark-blue and cream-colored salon “Pullman” between Italy and Paris. But it also featured the dark-blue and cream-colored seating “Pullmans” between Calais and Paris. There is no way that the Orient Express leaving Istanbul would entirely consist of the blue and cream “Pullman” cars.

However, the train did arrive at Belgarde at least 24 hours after its departure from Istanbul. Like the other movie, the train ended up snowbound between Vinkovci and Brod and remained there until the last scene. However, I am confused by the presence of the police standing outside of the train in the last scene. Poirot and the other passengers should have encountered the police, following the train’s arrival in Brod, not somewhere in the middle of the Yugoslavian countryside.

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“FROM RUSSIA WITH LOVE” (1963)

Ian Fleming’s tale begins with the terrorist organization, SPECTRE, plotting the theft of the KGB’s a cryptographic device from the Soviets called the Lektor, in order to sell it back to them, while exacting revenge on British agent James Bond for killing their agent, Dr. No. After Bond successfully steals the Lektor from the Soviet consulate in Istanbul, he, defector Tatiana Romanova and MI-6 agent Kerim Bey board the Orient Express for a journey to France and later, Great Britain.

While I found this adaptation of Ian Fleming’s 1957 novel extremely enjoyable, I found myself puzzled by the movie’s portrayal of Bond’s journey aboard the Orient Express. It seemed so . . . off. In the movie; the Orient Express conveying Bond, his traveling companions and SPECTRE assassin “Red” Grant; departed Istanbul somewhere between 3:00 and 4:00 o’clock in the afternoon. The train departed Istanbul around nine o’clock at night, in Fleming’s novel. Mind you, the novel was set in the 1950s and the movie, set in the early 1960s, which meant that its departure in the movie was pretty close to the 4:15 pm departure of the Direct Orient Express train that operated between 1962 and 1977. I do not recall seeing a dining car attached to the train, during its departure in the movie, so I cannot comment on that. But after the train’s departure, the movie’s portrayal of Bond’s Orient Express journey proved to be mind boggling.

The main problem with “FROM RUSSIA WITH LOVE” is that Bond’s journey proved to be the fastest I have ever witnessed, either on film or in a novel. It took the train at least three-to-four hours to reach Belgrade, following its departure from Istanbul. One, it usually took the Orient Express nearly 24 hours to reach Belgrade during its heyday. During the first ten-to-fifteen years of the Cold War, it took the Orient Express a little longer to reach Belgrade, due to it being re-routed through Northern Greece in an effort to avoid countries under Soviet rule. This was made clear in Fleming’s novel. But the 1963 movie followed the famous train’s original eastbound route . . . but at a faster speed. After killing Grant, Bond and Tatiana left the train before it reached the Yugoslavian-Italian border. Bond’s journey from Istanbul to that point took at least 15 hours. During the Orient Express’ heyday, it took at less than 48 hours. And during the 15 years of the Direct Orient Express, it took longer.

Unlike many recent film goers and television viewers, historical accuracy or lack of it in a movie/television production has never bothered me. I still remain a major fan of both “MURDER ON THE ORIENT EXPRESS” (1974 version) and “FROM RUSSIA WITH LOVE”. And although I have other major problems with the 2010 “MURDER ON THE ORIENT EXPRESS”, there are still aspects of it that I continue to enjoy. Historical inaccuracy has never impeded my enjoyment of a film, unless I found it particularly offensive. But since I can be occasionally anal and was bored, I could not resist a brief exploration of the Hollywood and British film industries’ portrayals of the Orient Express.