Top Ten Favorite Movies Set in the 1930s

Below is my current list of favorite movies set in the 1930s: 

 

TOP TEN FAVORITE MOVIES SET IN THE 1930s

1. “Indiana Jones and the Temple of Doom” (1984) – In this exciting second installment of the Indiana Jones franchise, the intrepid archaeologist is asked by desperate villagers in Northern India to find a mystical stolen stone and rescue their children from a Thuggee cult practicing child slavery. Directed by Steven Spielberg, the movie starred Harrison Ford as Dr. Henry “Indiana” Jones.

2. “The Sting” (1973) – Paul Newman and Robert Redford starred in this excellent Oscar winning movie about a young drifter who teams up with a master of the big con to get revenge against the gangster who had his partner murdered. George Roy Hill directed.

3. “Death on the Nile” (1978) – Peter Ustinov made his first appearance as Hercule Poirot in this superb adaptation of Agatha Christie’s 1937 novel about the murder of an Anglo-American heiress during a cruise on the Nile. John Guillermin directed.

4. “Chinatown” (1974) – Roman Polanski directed this outstanding Oscar nominated film about a Los Angeles private detective hired to expose an adulterer, who finds himself caught up in a web of deceit, corruption and murder. Jack Nicholson and Faye Dunaway starred.

5. “Gosford Park” (2001) – Robert Altman directed this Oscar nominated film about a murder that occurs at shooting party in 1932 England. The all-star cast includes Helen Mirren, Kelly MacDonald, Clive Owen and Maggie Smith.

6. “Evil Under the Sun” (1982) – Once again, Peter Ustinov portrayed Hercule Poirot in this entertaining adaptation of Agatha Christie’s 1941 novel about the murder of a stage actress at an exclusive island resort. Guy Hamilton directed.

7. “O Brother, Where Art Thou?” (2000) – Ethan and Joel Coen directed this very entertaining tale about three escaped convicts who search for a hidden treasure, while evading the law in Depression era Mississippi. George Clooney, John Tuturro and Tim Blake Nelson starred.

8. “Murder on the Orient Express” (1974) – Albert Finney starred as Hercule Poirot in this stylish adaptation of Agatha Christie’s 1934 novel about the Belgian detective’s investigation into the death of a mysterious American aboard the famed Orient Express. Sidney Lumet directed.

9. “Indiana Jones and Raiders of the Lost Ark” (1981) – Harrison Ford made his first appearance as Dr. “Indiana” Jones in this classic movie, as he races against time to find the iconic Ark of the Covenant that contains the Ten Commandments before the Nazis do in 1936 Egypt. Steven Spielberg directed.

“Seabiscuit” (2003) – Gary Ross directed this excellent adaptation of Laura Hillenbrand’s 2001 book about the famed race horse from the late 1930s. Tobey Maguire, Jeff Bridges, Chris Cooper and Elizabeth Banks starred.

Honorable Mention: “Road to Perdition” (2002) – Tom Hanks, Tyler Hoechlin and Paul Newman starred in this first-rate adaptation of Max Collins’ 1998 graphic comic about a Depression era hitman who is forced to hit the road with his older son after the latter witnesses a murder. Sam Mendes directed.

“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.

“EVIL UNDER THE SUN” (1982) Review

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“EVIL UNDER THE SUN” (1982) Review

For many years, I tried to pretend that Agatha Christie’s 1941 novel, “Evil Under the Sun” was a personal favorite of mine. I really tried to accept this opinion, knowing that it was a popular favorite of many Christie fans. But for some reason, any deep interest in the novel’s plot failed to grab me.

Produced by John Bradbourne and Richard Goodwin, and directed by Guy Hamilton; this “EVIL UNDER THE SUN” is basically about Belgian-born detective Hercule Poirot’s investigation into the murder of a famous English stage star, while on holiday in the Adriatic Sea. The movie begins with an unidentified female hiker reporting her discovery of a murdered woman named Alice Ruber on the Yorkshire moors. The story jumps to London, where Poirot is asked to investigate the circumstances of a millionaire’s diamond that turned out to be fake. Poirot’s investigation leads him to millionaire Sir Horace Blatt, who had originally given the diamond to his former lover – stage actress Arlena Stuart Marshall. After receiving the diamond, she eventually dumped him and married another. Sir Horace reveals that Arlena and her new husband plan to visit Daphne’s Island, an Adriatic Sea island resort owned by former showgirl Daphne Castle. During his holiday there, Poirot eventually discovers that there are others who have a grudge against Arlena:

*Daphne Castle – a former professional rival of Arlena, who had fallen in love with the famous actress’ husband, before he met the latter

*Kenneth Marshall – Arlena’s wealthy new husband, who is unhappy over Arlena’s extramarital affair with another guest and her bitchy treatment of his daughter; and who is also in love with Daphne

*Linda Marshall – Arlena’s stepdaughter, who detests her

*Patrick Redfern – a school teacher, who also happens to be Arlena’s current lover

*Christine Redfern – Patrick’s mousy wife, who resents Arlena’s affair with her husband

*Odell and Myra Gardener – husband and wife stage producers, desperate to cast Arlena in their new play

*Rex Brewster – a witty writer and theater critic who had written an unauthorized biography of Arlena

After two days on the island, Arlena sets out on her own for a private boat ride around the island. She is found strangled to death on one of the island’s secluded beaches, nearly two hours after Poirot saw her depart on a small paddle-boat. Daphne recruits Poirot to unveil the murderer before the local police can begin their own investigation.

I recently watched the 2001 television adaptation of Christie’s novel. Aside from some changes, the movie more or less followed the literary version. This 1982 version, which starred Peter Ustinov as Poirot, featured more changes to Christie’s tale. Screenwriters Barry Sandler and Anthony Schaffer (who had also co-written 1974’s “MURDER ON THE ORIENT EXPRESS”and written 1978’s “DEATH ON THE NILE”) changed the story’s location from the coast of Devon to an exclusive island resort in the Adriatic Sea (filmed in Majorca, Spain). Linda Marshall’s age was reduced from sixteen years old to at least twelve to thirteen years old. Although this reduction in age made it impossible for Linda to be considered a genuine suspect, she still played a major role in Poirot’s investigation. Sandler and Schaffer also glamorized the movie’s setting by allowing some of the suspects to reflect Arlena’s show business background. The Gardeners were transformed from mere American tourists to theater producers. The screenwriters transformed spinster Emily Brewster into writer/theater critic Rex Brewster, with the theatricality and wit of Noel Coward. Horace Blatt went from a slightly wealthy braggart to the garrulous self-made millionaire industrialist Sir Horace Blatt. Dressmaker Rosamund Darnley transformed into former showgirl-turned-royal mistress-turned resort owner Daphne Castle. And characters such as Stephen Lane and Major Barry were completely written out of the story . . . thank goodness. If I must be brutally honest, Schaffer and Sandler’s revamp of Christie’s novel made the story a lot more interesting and entertaining for me.

“EVIL UNDER THE SUN” was not perfect. It had a few flaws that either confused me or I found unappealing. One, I never understood why the insurance papers regarding the Alice Ruber case were in Poirot’s possession during his stay at Daphne’s Island. I understood that he was investigating Sir Horace’s fake diamond on behalf of the same insurance company. But why bring along the files for another case . . . even if that case proved to have a connection to Arlena’s killer? Although I enjoyed most of Anthony Powell’s colorful costume designs, there were a few selections I found either mind boggling or extremely tasteless. In one scene, both Maggie Smith and Diana Rigg wore outfits with material from the same source – white something with gaudy, colorful baubbles. Take a look:

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And in another scene, Sylvia Miles wore the following costume:

Costume Anthony Powell 1982

A black evening gown with reddish-pink and white polka dots, a plunging neckline and puffy sleeves? What on earth was Powell thinking when he created this costume for the actress? However, I still enjoyed the rest of Powell’s creations, which perfectly captured the movie’s comedic and slightly campy tone. I especially enjoyed the salmon-colored gown Rigg wore during Poirot’s second evening on the island and the black-and-white number that Miles wore during the detective’s first evening. And the costumes for the men – especially the evening wear – struck me as well tailored. Powell’s costumes were not the only artistic contributions to the film that I enjoyed. Christopher Challis’ photography of Majorca, Spain; which stood for the French Riviera and Daphne’s Island; struck me as colorful, sharp and very beautiful – a perfect reflection of sunshine elegance. And music arranger John Dalby make great use of various Cole Porter tunes in the movie

Most of my observations regarding “EVIL UNDER THE SUN” are definitely positive. It is one of my top favorite Agatha Christie adaptations of all time. Thanks to Schaffer and Sandler’s revisions in Christie’s tale and Guy Hamilton’s elegant, yet lively direction, “EVIL UNDER THE SUN” proved to be the wittiest Christie movie I have ever seen hands down. Nearly every character – including Emily Hone, who must have been in her early teens at the time – had some juicy lines. And I consider it to be twice as entertaining and superior to the 1941 novel. Between the show biz background of some of the characters – including Arlena Marshall, the witty dialogue and the movie’s exclusive setting; “EVIL UNDER THE SUN” managed to beautifully recapture the ambivalence of the cafe society between the 1930s and 1950s that included celebrated wits, actors and actresses, musicians, writers, and well-known high society figures. This was especially apparent in scenes that featured the evening gatherings of the guests in the hotel’s main drawing room. The apex of these scenes featured an entertaining and rather funny rendition of Cole Porter’s “You’re the Top” by Diana Rigg (along with an interruption or two from Maggie Smith).

As for the murder mystery itself, it does not have the same emotional resonance as “MURDER ON THE ORIENT EXPRESS” or“DEATH ON THE NILE”. There is no real emotional connections between the victim and the killer. This does not mean that I regard the 1982 movie inferior to the other two. “EVIL UNDER THE SUN” is simply a different kettle of fish. The murderer is too cold-blooded and the victim is too self-absorbed for any emotional connection. And the movie has a comedic, yet elegant style that makes it a lighter fare than its two predecessors – like a delicious, yet fulfilling souffle.

As for the cast . . . ah, the cast! How I adore every last one of them. Every time I watch “EVIL UNDER THE SUN”, I am constantly surprised by the chemistry between James Mason and Sylvia Miles, who portrayed the producing husband-and-wife team, Odell and Myra Gardener. It still amazes me that two performers with such different backgrounds and acting styles should click so well on screen. Jane Birkin, who had appeared in “DEATH ON THE NILE” with both Peter Ustinov and Smith, did an excellent job as the cuckolded wife, Christine Redfern. She managed to effectively combine Christine’s mousiness and penchant for nagging with great ease. I have a confession to make. I was never that impressed by Nicholas Clay’s performance as Sir Lancelot in 1981’s “EXCALIBUR”. But I really enjoyed his performance as the charming and slightly roguish Patrick Redfern, who loved his wife, but enjoyed having a good time with Arlena. This was the second time I have seen him portray an adulterer. And honestly? He was a lot sexier in this film. Denis Quilley, who was stuck in a one-dimensional role in “MURDER ON THE ORIENT EXPRESS”, had a better opportunity to shine as Arlena’s dignified, yet cuckolded husband, Kenneth Marshall. And he also had a nice chemistry with Smith. Like Quilley, Colin Blakely had a better role in “EVIL UNDER THE SUN” than he did in “MURDER ON THE ORIENT EXPRESS”. He was deliciously sardonic and earthy as the slightly embittered Sir Horace Blatt, the millionaire whom Arlena had made a chump.

The bitchfest between Maggie Smith’s Daphne Castle and Diana Rigg’s Arlena Marshall turned out to be a moviegoer’s dream. Both were absolutely delightful as the warm and pragmatic Daphne and the arrogant and self-absorbed Arlena, the former rivals who resumed their conflict with delicious verbal warfare and one-upmanship. Roddy McDowell’s portrayal of writer/critic Rex Brewster turned out to be the biggest bitch on the island. The actor had some of the best lines in the film. His response to the Gardeners’ suggestion that he go play with himself had me in stitches for at least two to three minutes. Surprisingly, novice actress Emily Hone engaged in her own bitchfest with McDowall’s Brewster . . . and did a great job in the process. I was surprised by her ability to hold her own with the actor and other members of the cast despite her age and lack of experience. Pity that “EVIL UNDER THE SUN” proved to be her only work in films.

Peter Ustinov returned for a second time as Belgian detective Hercule Poirot and seemed better than ever. Mind you, I was very impressed by his performance in “DEATH ON THE NILE”. But in this film he seemed more relaxed . . . enough to include more of his personal style in the role. Like the rest of the cast, he had his own memorable lines. But the one sequence in which he really impressed me proved to be the one in which Poirot revealed the murderer. The murderer revelation scenes have always been among my favorites in any Christie adaptation. But Ustinov really outdid himself in the one for “EVIL UNDER THE SUN”. I was so impressed by the actor’s pacing and use of both the dialogue and his voice that this movie ended up featuring my favorite murderer revelation scene of all time.

“EVIL UNDER THE SUN” is not my favorite Christie adaptation movie. And I found a few flaws in both the screenplay and Anthony Powell’s costumes that has left me scratching my head. But I cannot deny that the 1982 movie is among my top five favorite Christie movies. From my point of view, I would attribute this to Anthony Schaffer and Barry Sandler’s witty screenplay, Guy Hamilton’s well-paced direction and hilariously outstanding performances from a cast led by the very talented Peter Ustinov. I could watch this movie over and 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.

Favorite Train Journey Movies (REVISED)

A few years ago, I had posted a list of my favorite movies featuring train journeys. Below is a new list. To be honest, the revisions are few, but . . . hey, I felt bored. So I made another list. Without further ado, here it is: 

FAVORITE TRAIN JOURNEY MOVIES (REVISED)

1. “Murder on the Orient Express” (1974) – Sidney Lumet directed this all-star adaptation of Agatha Christie’s 1934 novel about Hercule Poirot’s investigation of an American passenger aboard the famed Orient express. Albert Finney starred as Poirot.

2. “Silver Streak” (1976) – Gene Wilder, Richard Pryor and Jill Clayburgh starred in this comedy thriller about a man who stumbles across a murder and criminal conspiracy during a train journey from Los Angeles to Chicago. Arthur Hiller directed.

3. “North West Frontier” (1959) – Kenneth More and Lauren Bacall starred in this adventure about a British Army officer assigned to escort a young Indian prince across rebel-held territory in British India. J. Lee Thompson directed.

4. “From Russia With Love” (1963) – Sean Connery stars as James Bond in this action thriller about the British agent’s efforts to steal the Soviets’ encryption device, unaware that he is being used as a patsy by SPECTRE. Directed by Terence Young, Daniela Bianchi, Lotte Lenya, Pedro Armendáriz and Robert Shaw co-starred.

5. “The First Great Train Robbery” (1979) – Sean Connery, Donald Sutherland and Lesley Anne Down starred in this comedy thriller about Victorian thieves who make plans to rob a moving train filled with gold for troops during the Crimean War. The movie was written and directed by Michael Crichton.

6. “The Lady Vanishes” (1938) – Alfred Hitchcock directed Margaret Lindsay and Michael Redgrave in this thriller about a young Englishwoman, who realizes that an elderly female passenger has disappeared.

7. “The Tall Target” (1951) – Dick Powell starred in this thriller about a New York cop, who tries to prevent President-elect Abraham Lincoln from Confederate sympathizers out to assassinate him during his rail journey from New York to Washington D.C. for his inauguration. Paula Raymond, Adolphe Menjou and Ruby Dee co-starred.

8. “Narrow Margin” (1990) – Gene Hackman and Anne Archer starred in this crime thriller about an assistant districtattorney from Los Angeles, who escorts a witness to the murder of a Mafia boss’ accountant. James B. Sikking co-starred.

9. “Shanghai Express” (1932) – Josef von Starnberg directed Marlene Dietrich in this tale about about a dangerous rail journey through China during a civil war. Anna May Wong and Clive Brook co-starred.

10. “The Mystery of the Blue Train” (2005) – In this adaptation of Agatha Christie’s 1928 novel, Hercule Poirot investigates the brutal murder of an American heiress aboard the Blue Train. David Suchet and Elliot Gould starred.

”MURDER ON THE ORIENT EXPRESS” (1974) Review

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Below is my review of the 1974 adaptation of one of Agatha Christie’s most famous novels – “MURDER ON THE ORIENT EXPRESS”:

 

”MURDER ON THE ORIENT EXPRESS” (1974) Review

Whenever the topic of Agatha Christie novels pop up, many critics and fans seem to rate her 1934 novel, ”Murder on the Orient Express” as among her best work. This stellar opinion seemed to have extended to the 1974 movie adaptation. After all, the film did receive six Academy Award nominations and won one. Is ”MURDER ON THE ORIENT EXPRESS” the best adaptation of an Agatha Christie novel? Perhaps. Perhaps not. Is it my favorite? Hmmm . . . I will get to that later.

But I cannot deny that the movie, also produced by John Bradbourne and directed by Sidney Lumet, is a first-class production. One could easily see that Bradbourne and Paramount Pictures had invested a great deal of money into the production. They hired the very talented and award winning director, Sidney Lumet; along with an all-star cast led by Albert Finney; cinematographer Geoffrey Unsworth; production and costume designer Tony Walton; and Paul Dehn to write the screenplay.

One of the most unique aspects of this particular movie is that it started with a haunting montage featuring newspaper clippings and newsreel footage of a tragic kidnapping of a three year-old girl from a wealthy Anglo-American family named Daisy Armstrong. The kidnapping of young Daisy would end up playing a major role in the true identities of the murder victim and the suspects. The movie soon moved to Istanbul, five years later, where famed Belgian-born detective, Hercule Poirot (Albert Finney), is about to journey back to England via the Orient Express. Despite the unusually heaving booking in the train’s Calais coach, Poirot manages to secure a berth aboard the train thanks to an old friend, Signor Bianchi (Martin Balsam), who happens to be a director for the Orient Express’ owner – the Compagnie Internationale des Wagons-Lits. After the train departs Istanbul, a mysterious American art collector named Ratchett (Richard Widmark) informs Poirot that someone has been sending him threatening notes and asks for the Belgian’s protection. Due to Poirot’s instinctual dislike of Rachett, the detective refuses to help. And after the train finds itself snowbound in the Balkans, Rachett is stabbed to death in the middle of the night. Signor Bianchi asks Poirot to unearth the murderer.

“MURDER ON THE ORIENT EXPRESS” turned out to be the first screen adaptation of a Christie novel to feature an all-star cast. One that only included screen stars such as Lauren Bacall, Sean Connery, Ingrid Bergman, Anthony Perkins, Vanessa Redgrave, Jacqueline Bisset, Michael York and Jean-Pierre Cassel. The cast also included stage luminaries such as John Gielgud (who was a bigger star on the stage), Wendy Hiller, Denis Quilley and Colin Blakely. And all of them gave solid performances, although I do have a few quibbles about a few members of the cast.

Critics had been especially impressed by Finney’s interpretation of the Belgian detective and Ingrid Bergman’s role as a shy and nervous Swedish missionary. Both received Academy Award nominations and Bergman won. Personally, I am not certain if both actors deserved their nominations. They gave pretty solid performances. But I found nothing extraordinary about Bergman’s Swedish missionary. It was a first-rate performance, but not worthy of an Oscar nomination, let alone an Oscar. And although he gave a superb performance, there were times when Finney seemed to drift into some kind of parody of the Continental European. This is why I believe that actors with strong European backgrounds like Peter Ustinov and David Suchet should portray Poirot. But . . . I cannot deny that he gave a very good performance. And he also conveyed certain aspects of Poirot’s personality that I have never seen in Ustinov or Suchet’s portryals – one of them being a talent for manipulating others into revealing themselves during an interrogation. I also enjoyed his brief scene with Jeremy Lloyd, who portrayed an obsequious British Army officer that served as Poirot’s escort during the crossing of the Bosphorus Strait.

And there were times when some members of the rest of the cast seemed to be in danger of drifting into hammy acting. Sean Connery sometimes came off as heavy-handed in his British Army officer routine. And Anthony Perkins’ parody of his famous Norman Bates role irritated me to no end . . . especially since the literary version of his character – Hector McQueen – came off as a completely different personality. However, Perkins had one really good scene that featured no dialogue on his part.  But three performances did strongly impress me – namely Jean-Pierre Cassel as the rail car attendant, Pierre Michel; Rachel Roberts as a German lady’s maid named Hildegarde Schmidt; and Colin Blakely as Cyrus Hardman, an American detective masquerading as a talent scout. Unlike some members of the cast, these three managed to give subtle, yet convincing performances without sometimes careening into parody. And Blakely provided one of the most poignant moments in the film when Poirot revealed his character’s (Hardman) personal connection to the Daisy Armstrong kidnapping case.

As for the movie’s screenplay, I must admit that Paul Dehn and an uncredited Anthony Shaffer did an excellent job in adapting Christie’s novel for the screen. They managed to stay true to the novel’s original plot with very few changes. Their only misstep was in making the Hector MacQueen’s character into a parody of the Norman Bates role from ”PSYCHO” (1960), due to Perkins being cast into the role. Or perhaps the fault lay with Lumet. Who knows? However, I cannot but express admiration over the brilliant move to include the montage that featured Daisy Armstrong’s kidnapping and murder at the beginning of the film. It gave the story an extra poignancy to an already semi-tragic tale. Despite these changes, Dehn and Shaffer basically remained faithful to the novel. They even maintained the original solution to the mystery. Granted, the solution made ”MURDER ON THE ORIENT EXPRESS” one of the most unusual murder mysteries in the history of Hollywood, let alone the literary world. And although the revelation of the murderer(s) came off as somewhat inconceivable, it made the movie memorable . . . aside from the flashback that revealed Rachett being murdered. That seemed to last longer than necessary. I also have a different opinion regarding the fate of the murderer(s). When I had been younger, it never bothered me. Now . . . it makes me slightly uneasy. If you have read the novel or seen the movie, you will know what I am talking about.

Richard Rodney Bennett had received a great deal of praise and an Oscar nomination for his score. I thought it meshed beautifully with the scenes featuring the Orient Express’ departure from Istanbul . . . and its continuing journey at the end of the film. However, there were times when I found it a bit over-dramatic and slightly out of place for a murder mystery. I really admired Tony Walton’s production designs for the movie. I thought it truly invoked the glamour and magic of traveling aboard the Orient Express in the 1930s. And it also conveyed the claustrophobic conditions of traveling by train, beautifully. Surprisingly, he also designed the movie’s costumes. I can only assume he was trying to adhere to Sidney Lumet’s desire to recapture the old Hollywood glamour from the 1930s. Unfortunately, I felt that Walton’s costumes for most of the characters seemed a bit over-the-top. But I must admit that I admired his costumes for Jacqueline Bisset, Ingrid Bergman and Vanessa Redgrave’s characters.

In the end, one has to give Sidney Lumet high marks for putting all of this together to create a classy adaptation of an unusual novel. Granted, I have a few qualms with some of the performances, characterizations and the plot’s resolution. And there were times in the middle of the movie when Lumet’s pacing threatened to drag the film. In the end, Lumet’s direction managed to maintain my interest in the story. And ”MURDER ON THE ORIENT EXPRESS” remains a favorite movie of mine after 35 years.

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