Edwin Arnaudin
For many Agatha Christie fans, Sir David Courtney Suchet is the quintessential Hercule Poirot. And he’s certainly had enough opportunities to make an impression. From 1989-2013, the English actor appeared in a staggering 70 episodes of the PBS series Poirot. And despite a 2001 TV-movie version of Murder on the Orient Express starring Alfred Molina and a 2018 Amazon Prime Video series take on The ABC Murders with John Malkovich on the case, Suchet’s portrayal remains the first that comes to mind when most folks think of the legendary Belgian detective.
Though he may have the small screen on lock, the big screen belongs to Albert Finney. His lone credit as the eccentric sleuth, in Sidney Lumet’s Murder on the Orient Express, remains wholly enthralling 50 years after the film’s release — an anniversary that’s been feted by KL Studio Classics with a classy new 4K/Blu-ray release on Sept. 24.
Part of the appeal lies in Finney’s ability to so thoroughly disappear into the character. Just over a decade after his youthful face anchored Tom Jones, ushering in a career of primarily clean-shaven roles, the British star is borderline unrecognizable behind Poirot’s waxed black mustache and tightly combed hair that appears plastered to his scalp. Often hunched and seemingly on the verge of being swallowed by his clothes, his Poirot is a comical sight to behold. Completing the disguise is ashen makeup that gives him the appearance of a convalescent, and his commitment to the Belgian’s heavily accented English.
Indeed, much of Finney’s charm centers on viewers’ inability to fully understand him without the aid of subtitles. Prone to rambunctious outbursts and seemingly always in performance mode (his hand-waving, sing-song delivery of “Too many clues in this room!” is the film’s best line), this Poirot uses his foreignness as a means of disarming those around him and encouraging them to confide in him.
But he’s also a bit of a clown when no one else is around. His pre-sleep ritual of protecting his mustache provides one of the film’s most hilarious moments, and his habit of talking and singing to himself suggests that he’s simply this way 24/7.
Such fully-realized acting would likely shine in a mediocre film, yet Lumet surrounds Finney with an unfairly strong supporting cast and phenomenal attention to detail. From gorgeous Istanbul scenery to the exquisite costuming and props, this is a decidedly tactile production, the likes of which are rarely seen today (and are all but absent in Kenneth Branagh’s neutered 2017 adaptation). And the titular transportation vessel more than earns its billing, receiving a spotlight introduction that ranks among cinema’s all-time greats.
Granting this mechanical star full attention, Lumet spends an inordinate amount of time on the train preparing to leave the station and as it picks up speed on the tracks, to the point that one wonders if the film has suddenly become a documentary on locomotives. Yet paired with composer Richard Rodney Bennett’s jubilant waltz — a fascinating foil to the dark deeds about to transpire — this dialogue-free stretch proves key in establishing the 1935 setting and conveying the industrial allure of what was then the height of continental travel.
While the playfulness of Paul Dehn’s screenplay radiates through the performances and details, Murder on the Orient Express’ greatness stems from the filmmakers’ ability to blend these lighthearted element with more serious subject matter, and Lumet and his team are careful to keep mystery and intrigue at the film’s forefront.
The collaborators expertly lay on thick foreshadowing in the opening present-day scene as Mary Debenham (Vanessa Redgrave) and Col. Arbuthnot (Sean Connery) speak of guarding their romantic impulses until an ambiguous matter is “behind us.” And as various train passengers recognize the world-renowned Poirot, they’re unable to mask their displeasure with his presence, suggesting that any one of them is capable of foul play.
However, that’s about as in-depth as the clues get, and the veil from further information only benefits the mystery. The evening’s unusual events in the sleeper cars, building to the discovery of the murdered Ratchett (Richard Widmark), all play out from Poirot’s limited perspective. Soon gifted a window for investigation when a snowbank blocks the tracks and brings the train to a standstill, the detective pieces the night’s events together via interrogations with his fellow travelers, daring viewers to keep pace.
Lumet and editor Anne V. Coates sustain suspense throughout these exchanges, making no-nonsense cuts to relevant past events that are no doubt racing through both parties’ brains. Presented without music or manipulative sound effects, this dry, straightforward approach enhances the flow without insulting the audience’s intelligence via extraneous adornment.
It all builds to one of the most memorable expository stretches in film history, one where Finney’s and Lumet’s skills are on full display. Often emulated yet never topped over the past half century, this icing on the proverbial cake cements Murder on the Orient Express as a masterpiece and merits its place alongside other great works from an especially impactful movie year.
The new 4K UHD edition of “Murder on the Orient Express” is out tomorrow. It’s also streaming on Hoopla.
