RageLite review - Murder on the Orient Express (Albert Finney - Marathon 1/3)

OK, it’s time we set off on the Murder on the Orient Express Marathon

Over the next 3 weeks we’ll be covering 3 adaptations of Dame Agatha Christie’s famous Poirot Novel: Murder on the Orient Express.

The first major adaptation was the 1974 version with Albert Finney starring in the title role. There had been other adaptation of Agatha Christie’s work but Agatha herself had been largely displeased with them. It was apparently difficult to get her to sell the film rights to this novel but thanks to the pleasant record of the producers, she eventually accepted.

Made with a decent $1.4m budget, the movie did really well, making $35.7m back. And the reception to it has been largely positive, with it receiving several Oscar nominations at the time, and has fared well since the dawn of the internet, with a 3/4 from Roger Ebert and a 91% Rotten Tomatoes Rating, but how does it fair as an adaptation, here are my thoughts.

You’ll forgive me if I don’t go too much into story territory, but I’ll save that for the review of the Kenneth Brannagh version but safe to say it’s probably the most loyal in terms of adaptations of the novel, with only a few minor changes and some revelations that happened gradually during the book all occurring during the big reveal at the end.

I’m probably gonna get flack for this but I did not like Albert Finney as Poirot. He got some of his mannerisms down but his voice didn’t sound right at all, whilst I realise Albert Finney is an Englishman and is therefore having to put on a Belgian accent, he doesn’t sound like the Belgian Detective, although that may just be my love and acceptance of David Suchet in the role.

There are a few ‘product of their time' moments particularly in regards to Greta Ohson. She became a missionary to Africa looking after ‘little brown babies more backwards than I.’ Backwards in this case meaning non-Christian. In honesty, I think it’s a poor choice of words, not helped by the more obvious and deliberate (at least on part of the character) racism of her confusing Africa and India. This was not in the book, either, this was deliberately added to this version

It’s the only film to detail the Armstrong case at the start of the story. This is quite a good use of the ‘show don’t tell’ rule and allows them to skip past some unnecessary exposition bogging down the middle of the film. It’s kinda surprising the other adaptations don’t follow suit in this.

The most interesting element of difference between the films is how Poirot reacts upon revealing what actually happened, this is the only film not to show it in detail and is probably the most accurate to the book, he is conflicted but himself confesses that’s there’s no easy answer here and allows his compatriot M Bouc to make the ultimate decision.

The music in the film is a little over the top for my taste, again I suspect this is more a product of its time, but it seemed a little too cheery for a rather dark story like this. But the one thing that can’t be taken away from it the talent on the screen. Despite my personal distaste for Albert Finney’s interpretation of Poirot, he’s still a talented actor, and among a star-studded cast including former bond Sean Connery.

This version of Murder on the Orient Express features a talented cast and impressive sets and filming locations. It hasn’t aged perfectly though, from some of the language and the over the top music. Albert Finney’s Poirot was decently performed but I’m not convinced was a perfect version of the famous detective, it’s the weakest moustache for a start.

Rating 75/100