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\u2019s Murder on the Orient Express<\/em>, remains wholly enthralling 50 years after the film\u2019s release \u2014 an anniversary that\u2019s been feted by KL Studio Classics with a classy new 4K\/Blu-ray release on Sept. 24.<\/p>\n\n\n\n Part of the appeal lies in Finney\u2019s ability to so thoroughly disappear into the character.\u00a0Just over a decade after his youthful face anchored Tom Jones<\/em>, ushering in a career of primarily clean-shaven roles, the British star is borderline unrecognizable behind Poirot\u2019s 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\u2019s heavily accented English.<\/p>\n\n\n\n Indeed, much of Finney\u2019s charm centers on viewers\u2019 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 \u201cToo many clues in this room!\u201d is the film\u2019s best line), this Poirot uses his foreignness as a means of disarming those around him and encouraging them to confide in him. <\/p>\n\n\n\n But he\u2019s 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\u2019s most hilarious moments, and his habit of talking and singing to himself suggests that he\u2019s simply this way 24\/7.<\/p>\n\n\n\n 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\u2019s neutered 2017 adaptation). And the titular transportation vessel more than earns its billing, receiving a spotlight introduction that ranks among cinema\u2019s all-time greats.<\/p>\n\n\n\n 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\u2019s jubilant waltz \u2014 a fascinating foil to the dark deeds about to transpire \u2014 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.<\/p>\n\n\n\n While the playfulness of Paul Dehn\u2019s screenplay radiates through the performances and details, Murder on the Orient Express<\/em>\u2019 greatness stems from the filmmakers\u2019 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\u2019s forefront.<\/p>\n\n\n\n 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 \u201cbehind us.\u201d And as various train passengers recognize the world-renowned Poirot, they\u2019re unable to mask their displeasure with his presence, suggesting that any one of them is capable of foul play.<\/p>\n\n\n\n However, that\u2019s about as in-depth as the clues get, and the veil from further information only benefits the mystery. The evening\u2019s unusual events in the sleeper cars, building to the discovery of the murdered Ratchett (Richard Widmark), all play out from Poirot\u2019s 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\u2019s events together via interrogations with his fellow travelers, daring viewers to keep pace.<\/p>\n\n\n\n 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\u2019 brains. Presented without music or manipulative sound effects, this dry, straightforward approach enhances the flow without insulting the audience\u2019s intelligence via extraneous adornment.<\/p>\n\n\n\n It all builds to one of the most memorable expository stretches in film history, one where Finney\u2019s and Lumet\u2019s 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 <\/em>as a masterpiece and merits its place alongside other great works from an especially impactful movie year.<\/p>\n\n\n\n The new 4K UHD edition<\/a> of “Murder on the Orient Express” is out tomorrow. It’s also streaming on Hoopla<\/a>. <\/em><\/p>\n\n\n\n![\"\"](\"https:\/\/crookedmarquee.com\/stage8\/wp-content\/uploads\/2024\/09\/murder-orient2-1024x683.jpg\")
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