In regards to this new film version of Murder on the Orient Express I'm intrigued by it but I'm just not sure how Kenneth Branagh will be as Poirot. After all these years of seeing David Suchet and Peter Ustinov in the movies and on TV I wonder how Branagh will capture the eccentric fastidiousness of Poirot's peculiar habits and attire plus his egg-shaped head and that famous twirling mustache of his. I know Albert Finney played Poirot in the 1974 version of Murder on the Orient Express but I thought his performance was weird and did not make a good Poirot in my opinion. Ustinov was good but physically he was not Poirot as I envisioned him in the novels and stories. I did see a later version of Murder on the Orient Express set in modern contemporary times and starred Alfred Molina as Poirot. I truly disliked him and that version of MOTOE. Now I know there has been some mixed reviews about the TV version with Suchet but I have to confess after watching it a couple times it wasn't that bad. It did capture the dark nature of the story, it was set during the 1930's, and the ending remained faithfully. Now what I didn't like was the scene where a woman was stoned to death (it was unnecessary and not in the original novel), also the fact they made Dr. Constantine one of the people who took part in killing Ratchett, and that they cut out the character of Cyrus Hardman. Those were the things that bothered me in that TV version but other than that it was okay. With this new film version I'm going to approach it very cautiously. However I'm excited that Johnny Depp is going to play Ratchett plus it does have some distinguished stars like Judi Dench, Derek Jacobi, Michael Pena, Michelle Pffeffer, to name a few. However if they do set this particular film version in contemporary modern times then I'll be very disappointed. One of the things that makes a film or TV version of Agatha Christie's novels and stories great to watch is because it takes the viewer to a nostalgic time and place far different from the chaotic and unromantic presence of today's world.
I'm sorry to say, I don't care much for the cast. I'll stick with the 1974 version and of course the book. I think the 1974 version got the story right while the Suchet version was just too dark, the film felt rushed, and there were unnecessary scenes such as the woman getting stoned which Cameronjhw mentioned.
I would apologize for being so slow, if I were you. You must mention these matters at the meetings which you say you moderators attend. It is very unsatisfactory, and my satisfaction with this forum is, indeed, very low. Of course members should expect to be kept informed of developments before other online news outlets get to hear of them. It was said that, following the ending of the Suchet series, a new way of operating would be initiated, one in which Agatha Christie Limited were actively involved in the process of creating new dramas. It should be possible, therefore, to access information at an eary stage. I suggest you trawl the media for 'Agatha Christie' mentions as part of your own role. If members can do it, then you can too. I also suggest that you proffer your own opinions of the cast, etc, instead of throwing out questions and never picking up on the answers.
You have not responded to my question as to how the forum revamp is progressing, even though it was yourself who introduced the subject of changes - which don't seem to have occurred. I am going to now leave this forum to others, because I am non-plussed by the dispiriting and unengaged manner in which it is being lead.
Goodbye to AgathaFanForLife Tommy Talia Madame Doyle Shana AgathasMyKid Crooked Quinn
@Griselda, don't leave, I hate it when those I enjoy discussing Agatha Christie with leave just like another Agatha Christie forum I was involved in. Stay and give the forum a chance.
Hi everyone, I agree that the Finney version, along side such awesome actors as Anthony Perkins is the definitive version, but I have been so desperate for a big screen Christie I am open to giving it a try lol. I can take friends and family to see it too.
I would have thought it best for Michelle Pfeiffer and Judi Dench to swap roles Depp to play McQueen and Brannagh to play Bouc, I should think Jacobi will make a Good Masterton though.
I just watched the Suchet 2010 Murder on the Orient Express last night, and I realized how much of a profound impact the director has on the story.
Either the stories are too dark, too light, or often with a tonal imbalance. They need to have an artsy character-driven atmosphere that varies with such moods of the characters, of their succumbing, slowly displaying themes through the changes in terms of hues, actions, and revelations, with alternatives gradually changing with all of the tints and shades of both the characters and the plot, thrusting out a theme with these subtlties, fortifying itself as it builds the stories with every brush stroke, blending in all of the themes, wrapping itself around with all of the color, vibrancy, and psychology, with the film needing to resemble the human mind and the immensities and intensities in the storyline as the characters begin to unravel truths, slowly tying together every piece until it is complete. Their has the be the haunting message, too, within either the final moments or near to such at the film that needs to be thought provoking and evocative, where in the solution you realize how the pieces connect through all four sides instead of just one, so there is not one tie that needs to be knotted. There needs to be a satisfaction. I believe why Sophie Hannah's Poirot are not highly regarded as they miss the human nature aspect, with the theme, with clues only pointing to one other path instead of five different ones that all lead to the same destination, leaving in awe instead of underwhelmed. The character-driven nature instead of plot driven is also important--it needs to be the choices of the characters that build upon the story, and they need to be relatable, like real people. We are not all rambunctious royalty. Agatha Christie's expertise with development is something to marvel at, as well as the diversity of personalities, complex and yet at the same time with simple goals, and we feel all emotions, encounter every trait, instead of just misplaced with just one.
What made the Marple's feel unnatural was its over boisterousness, and for the later Suchet adaptions they were focusing on the wrong themes. The new And Then There Were None adaption's highlights was the atmosphere, and how the theme was released to the audience, playing out like a tragedy, even if there were some questionable plot changes. These stories need to be treated like paintings. You do not need to copy the painting, but the meaning, the purpose, and the sordidness, or the ebullience, or the wrath, or the fear, or the disgust still need to be there. The passion, and the atmosphere, still need to be there.
So that is why I can trust this adaption will be at least pleasant, because of its director.
@CrookedQuin, do you feel that the Suchet version of Murder on the Orient Express accomplished the meaning and purpose of the book, carrying out the human nature aspect?
@ChristieFanForLife I believed they focused too much on the religious aspect. They did not have time to interrogate everyone, the great clues in the story were ignored, and they barely covered most of the characters. Poirot seemed grumpy and sordid, and all of the lightness was washed away. However, it was stylish, surprisingly intense, and although the end was slightly anticlimactic to the build up, that made everything much more haunting, chilling, and beautiful, especially with how they covered the loose ends with the characters, and Poirot's final desicion. I was watching the movie with someone who had not read the book, and they thought it brilliant, melancholy, and great and they were excited to begin their first Agatha Christie novel. I'd overall give the film a 7/10. It wasn't bad, but it had a few films. However, it had a tonal balance and played out like a Shakesperan tragedy, if over dramatic at the climax.
@CrookedQuin, the problem with MOTOE was the script, the direction of the film, and the film's run time. That would account for the short period of interrogation of the suspects and not having enough time to explore these characters and get a good feel for them like we did in the 1974 one. I didn't like how David Suchet made Poirot, as you said "grumpy and sordid", and even in Curtain he was like that too and I didn't like the way he treated Capt. Hastings throughout that film. The 1974 film had a better run time and I got a better feel of the characters and the film had a great balance of tone to it. . . it wasn't too dark nor too light. I loved the ending with the champagne glass scene and though that wasn't in the book, it was a suitable and appropriate ending especially in the context of Ratchett and the horrible crime he committed. I felt like the Suchet version was trying too hard to be dark and trying so hard to emphasize the point of "justice", force-feeding the point to us even from the very beginning with the stoning scene and onwards.
@ChristieFanForLife they said this new adaption was going to be darker. I'm not sure what I feel about this. Something I hope for is more flashbacks to the tragedy throughout the film, and I hope they still keep the humor, but not have it be forced, and at appropriate times. I'm impressed with the casting so far. I'm interested in how Johnny Depp will approach the character of Ratchett.
@CrookedQuin, the story is dark enough already so I don't see the need for making it darker. I wish the focus was more on making the films "faithful" to the books rather than making the tone of her stories darker than what they are.
Looks like they still need to cast someone to play: Hector MacQueen, Cyrus Hardman, Greta Ohlsson, Hildegarde Schmidt, Count Andrenyi, Pierre Michel, and Colonel Arbuthnot. It would be interesting to figure out what actor or actress would be ideal for portraying these remaining characters. I still enjoy the 1974 version but I don't mind the Suchet version for TV too much except for certain moments.. I'm still hesitant to see how Kenneth Branagh does a convincing and believable job as Hercule Poirot.
@cameronjhw, at the moment my expectations of this new Murder On The Orient Express film is pretty low. Honestly, I just don't expect that much. In my opinion, the 1974 version is the definitive one for me and I have yet to see another remake of it that will either top it or be just as good right beside the original. I would much rather see some of the non-series stories done and see more of emphasis on that rather than on Orient Express (prefer the 1974 version) and The ABC Murders which the BBC is doing (the Suchet version is the definitive one and about as close to the book as you're ever going to get).
I thought all the Parts had been filled, I hope it isn't going to be dark, It would be a silly idea as there are 4 versions already, if they make it too daek it will become forgotten like Alfred Molina's.
I thought all the Parts had been filled, I hope it isn't going to be dark, It would be a silly idea as there are 4 versions already, if they make it too daek it will become forgotten like Alfred Molina's.
I don't see a point to even have a dark version of MOTOE...you already have one with David Sucjet and honestly that turned out awful and unimpressionable. I think all versions of the film are forgettable. The 1974 version stands out in my mind and I think it will stand the test of time as the definitive version just like the Miss Marple films with Joan Hickson and Poirot with David Suchet. The Alfred Molina is forgotten because the film was simply awful. The acting was bad and the story was nothing like what Agatha Christie wrote. And Molina was just a man in a moustache.....David Suchet embodied that role. I didn't see David Suchet.....I saw Poirot.
Josh Gad usually is featured as the voice in a plethora of animated movies. He was in the highest grossing animated movie, Frozen, a few years ago as the snowman character.
I suppose Hector MacQueen is going to be comedic in this adaption.
Josh Gad is a popular American actor and comedian who, among other things, has starred in The Internship and Jobs. We will hopefully have more information about the cast for the remaining roles soon.
Comments
You have not responded to my question as to how the forum revamp is progressing, even though it was yourself who introduced the subject of changes - which don't seem to have occurred. I am going to now leave this forum to others, because I am non-plussed by the dispiriting and unengaged manner in which it is being lead.
Goodbye to AgathaFanForLife
Tommy
Talia
Madame Doyle
Shana
AgathasMyKid
Crooked Quinn
and others whom I have enjoyed engaging with.
Either the stories are too dark, too light, or often with a tonal imbalance. They need to have an artsy character-driven atmosphere that varies with such moods of the characters, of their succumbing, slowly displaying themes through the changes in terms of hues, actions, and revelations, with alternatives gradually changing with all of the tints and shades of both the characters and the plot, thrusting out a theme with these subtlties, fortifying itself as it builds the stories with every brush stroke, blending in all of the themes, wrapping itself around with all of the color, vibrancy, and psychology, with the film needing to resemble the human mind and the immensities and intensities in the storyline as the characters begin to unravel truths, slowly tying together every piece until it is complete. Their has the be the haunting message, too, within either the final moments or near to such at the film that needs to be thought provoking and evocative, where in the solution you realize how the pieces connect through all four sides instead of just one, so there is not one tie that needs to be knotted. There needs to be a satisfaction. I believe why Sophie Hannah's Poirot are not highly regarded as they miss the human nature aspect, with the theme, with clues only pointing to one other path instead of five different ones that all lead to the same destination, leaving in awe instead of underwhelmed. The character-driven nature instead of plot driven is also important--it needs to be the choices of the characters that build upon the story, and they need to be relatable, like real people. We are not all rambunctious royalty. Agatha Christie's expertise with development is something to marvel at, as well as the diversity of personalities, complex and yet at the same time with simple goals, and we feel all emotions, encounter every trait, instead of just misplaced with just one.
What made the Marple's feel unnatural was its over boisterousness, and for the later Suchet adaptions they were focusing on the wrong themes. The new And Then There Were None adaption's highlights was the atmosphere, and how the theme was released to the audience, playing out like a tragedy, even if there were some questionable plot changes. These stories need to be treated like paintings. You do not need to copy the painting, but the meaning, the purpose, and the sordidness, or the ebullience, or the wrath, or the fear, or the disgust still need to be there. The passion, and the atmosphere, still need to be there.
So that is why I can trust this adaption will be at least pleasant, because of its director.
http://legacy.agathachristie.com/insight/papers/2011/02/10/one-train-two-very-different-journeys/
http://at-scene-of-crime.blogspot.com/2012/02/curious-case-of-unnecessary-butchering.html
http://at-scene-of-crime.blogspot.com/2012/05/sequel-to-curious-case-of-unnecessary.html
I thought all the Parts had been filled, I hope it isn't going to be dark, It would be a silly idea as there are 4 versions already, if they make it too daek it will become forgotten like Alfred Molina's.
I suppose Hector MacQueen is going to be comedic in this adaption.
Thanks, I have never heard of him.