MURDER ON THE ORIENT EXPRESS

UK, 1974, 131 minutes, Colour.
Albert Finney, Lauren Bacall, Ingrid Bergman, Jacqueline Bissett, Jean-Pierre? Cassel, John Gielgud, Wendy Hiller,
Sean Connery, Vanessa Redgrave, Michael York, Anthony Perkins, Richard Widmark, Rachel Roberts, George Colouris, Martin Balsam, Denis Quilley, Colin Blakely.
Directed by Sidney Lumet.

Murder on the Orient Express is a spectacular presentation of a popular Agatha Christie classic. Agatha Christie is a part of many peoples' past and nostalgia easily extends to Poirot and his detective brilliance, the 1930's, a sophisticated world, exotic transcontinental travel and international passengers. Sidney Lumet's film is the model of visual and craftsman-like elegance, a modern presentation of authentic Agatha Christie, her world, her crimes, her lists of suspects and alibis, her contrived clues, Poirot's eccentric flare, all in a world more spectacular than life, a good, if complex, screenplay, a host of stars who do more than justice to the glamour and characterisation of their roles (Ingrid Bergman winning an Oscar for her performance), all make this easy entertainment, but what about law, justice and punishment?

1. A satisfying film? The background of its planning, stars, Agatha Christie, high class entertainment? Did it live up to expectations?

2. For what audience was the film made? World-wide, readers of the novel, those interested in the stars in these roles? Successful casting, blending of so many star roles together? Ingrid Bergman winning an Oscar for her role?

3. The status of Agatha Christie, her reputation and people's enjoyment of her work? The nature of the ingredients of her murder mysteries, the atmosphere especially of the 20s and 30s? The background of English drawing room comedy and melodrama of manners? The detective, the style, the cruise? How well were these translated to the screen? Satisfactory in the 70s?

4. Agatha Christie’s readers and Hercule Poirot? Agatha Christie's description of him, delineation of his character, people's expectations? Albert Finney's portrayal, character, manners, style? Fulfilling expectations? His pride, vanity, ability to understand clues and solve cases?

5. The novel and its reputation? An ingenious thriller in the 30s? The reverse of many crimes and one criminal? The importance of the American and social setting? The importance of the prologue? Its visual style and communication of information? Getting the audience 'on side' and against the villain?

6. The initial atmosphere of Istanbul, its beauty, far away from England and America, a sense of the ominous?

7. How did this continue with the build-up to the departure of the train? The importance of the conventions of introducing the characters as they arrived at the train? The contrast of styles, opulence, class? Initial audience response to the major characters? The alert for their connection with a murder?

8. The film's use of the train, its motion, visualizing the train in close-ups, long shots, the countryside, the snow? The appropriate music with the atmosphere of the 30s and suggesting the forward motion of the train?

9. Richard Widmark's style as Ratchett? As a character in himself? American, rough, vain? His treatment of McQueen? The encounter with Poirot and his offer to be his bodyguard? The death threats and his reaction? Did the audience like him in any way? Lack of sympathy with his death? Yet the revelations about him in the flashbacks? His guilt and the fact that people could not touch him officially? His murder as an execution? The right to execute such a criminal who was beyond the law?

10. How did the film keep the audience guessing, the nature of the clues both visual and verbal, were they fair? The technique of continued interrogations? The flashbacks and what they contributed? Did the audience expect those interrogated to tell lies? Was it possible to deduce the conclusion from what was presented in the screenplay?

11. How successfully was the interconnection between the characters presented? Did the audience understand this throughout the film or did they need Poirot's solution at the end?

12. How well were the characters delineated? Mrs. Hubbard and the initial impression that she gave, her chattering, her superiority, attitude towards Poirot? The revelation that she was the mastermind and her relationship with the dead child? The Count and the Countess and the atmosphere of youth and glamour? Did they contribute much as characters? The revelation of their connection?

13. The people associated with the family because of work and loyalties? miss Debenham and her relationship with Colonel Arbuthnot? Her work as a secretary? Suspicious? The contrast with Miss Ohlson and her very Swedish missionary style? The irony of her true identity? McQueen? and his bitterness towards Ratchett? Beddoes and his loyalty? Michelle? The fact that prominent stars portrayed these roles? Did this give impact to the characters? In their interaction? In the flashbacks? In their motivation?

14. The associates: Colonel Arbuthnot and his association with the family, with miss Debenham? The Princess and her maid? Hardman and Foscarelli? Their seeming lack of connection and yet their gradually being brought into the case?

15. How well did Poirot handle the situation? His confrontation of the characters, the nature of the interviews, his revelation of the solution?
16. The importance of the train officials ? especially Bianchi and his need to solve the case? His attitude towards the end in exonerating the passengers?

17. How melodramatic was the denouement, Poirot's gradual build-up, the cast all assembled in the carriage, the hypotheses? The revelation of the truth and allowing them to go free? The irony of the toast?

18. Themes of human nature, society, crime, justice, private justice and official justice, the law? The exhilaration of detecting the truth?