A couple Sundays after president Clinton took office in 1993 (as the debate over gays in the military heated up) I drove 30 miles East to Annapolis to attend a regular church service at the Naval Academy. The pastor was a female (who at the time was by definition supposed to be straight) and her sermon had an interesting title: “Come and see. Why are you here?”
The second question was one that Chris Hansen would pose to hapless visitors caught in his TV sting about a decade later (“To Catch a Predator”).
But the star and rich-people assemblage in the remake of Agatha Christie’s “Murder on the Orient Express” posed the same kind of question. Why were they on this particular train? How probable is it, really, that every single passenger could be a reasonable suspect (or “person of interest”, at least) and possibly wind up complicit in the murder of an organized crime figure Edward Ratchett (Johnny Depp), after the train is stalled by an avalanche in the Carpathian mountains, or maybe it is the Alps. (The word “orient” seems overused). All this is in 1934, at the end of the Great Depression, before a lot of people see the Winds of War.
Kenneth Branagh, so proud of his work on Shakespeare in the past (along with the Mahler-ish score by Patrick Doyle) plays himself, so to speak, as the self-indulgent detective Hercule Poirot, who opens the movie obsessed with the symmetry of two boiled eggs at a continental breakfast. He politely refuses Ratchett’s job offer, and then that evening, after the train is derailed and stopped, we actually see a clown (Stephen King style, out of everybody’s sight line) racing away from Ratchett’s cabin.
There are better films set on trains. First of all, how about Hitchcock’s own “Strangers on a Train” (1951). I’ve seen Trans-Siberian, The Cassandra Crossing (1977, where a plague has to be contained on a train), Silver Streak, The Great Locomotive Chase (Disney, 1955), and, particularly, Snowpiercer (which was very political).
I remember one train ride a little like one of these movies. In the spring of 1999, I took a night train East from Berlin to Krakow, to visit Auschwitz the next day. My novel “Angel’s Brother” starts with a meeting of two young men at the site, who had seen each other on the train, and wonder why they are both there.
I saw the 1974 film by Sidney Lumet shortly after I had moved into New York City.
Vinkovci, Croatia station (in the book), wiki.
|Name:||“Murder on the Orient Express”|
|Director, writer:||Kenneth Branagh|
|Format:||2.35:1 some backstories are in black and white|
|When and how viewed:||Regal Ballston Quarter, afternoon 2017/11/10, good crowd|
|Companies:||20th Century Fox|
(Posted: Friday, Nov. 10, 2017 at 10:30 PM EST)