A glittering train derails into deception, where every passenger hides a dagger-sharp secret, and only one man’s moustache can sift truth from lies.

Step aboard the opulent Orient Express once more with Kenneth Branagh’s 2017 reimagining of Agatha Christie’s timeless whodunit, a lavish spectacle that blends classic mystery with modern cinematic flair.

  • The film’s all-star ensemble delivers razor-sharp performances amid snow-swept luxury, elevating the ensemble mystery to operatic heights.
  • Branagh’s Hercule Poirot takes centre stage with meticulous detective work and a towering personality that redefines the iconic sleuth.
  • From practical effects to sweeping visuals, this remake honours Christie’s blueprint while forging a bold new legacy in adaptation history.

Snowbound Sleuthing: The Allure of the Orient Express

The 2017 version of Murder on the Orient Express hurtles viewers through a blizzard of intrigue, transforming Agatha Christie’s 1934 novel into a visual feast of Art Deco elegance and moral ambiguity. Directed by and starring Kenneth Branagh as the fastidious Hercule Poirot, the film captures the novel’s essence: a microcosm of humanity trapped on a stalled luxury train, where a brutal stabbing unravels a web of interconnected lives. Production designer Jim Clay meticulously recreated the Calais Coach, drawing from original blueprints held in the Venice Simplon-Orient-Laurient archives, infusing every polished walnut panel and velvet curtain with era-specific authenticity. This attention to detail grounds the escalating tension, as the train’s immaculate confines contrast sharply with the savagery unfolding within.

Christie’s original tale revolves around American tycoon Samuel Ratchett, portrayed with oily menace by Johnny Depp, who begs Poirot for protection before his grisly demise. Twelve knife wounds pierce his body, discovered by the detective himself in the dead of night. As the train grinds to a halt in the Yugoslavian wilderness, courtesy of an avalanche engineered for dramatic effect, Poirot assembles the suspects: a kaleidoscope of nationalities and motives, from the imperious Princess Dragomiroff (Judi Dench) clutching her tiny dog to the widowed Mrs. Hubbard (Michelle Pfeiffer), whose hysteria barely masks deeper guilts. Branagh’s script, penned by Michael Green, expands these vignettes with flashbacks that humanise the ensemble, revealing a shared tragedy tied to the long-ago Armstrong kidnapping—a real-life inspired scandal that Christie wove into fiction.

What elevates this remake beyond mere facsimile is its embrace of theatricality. Branagh stages interrogations like chess matches, with Poirot’s cane tapping rhythms of revelation. The cinematography by Haris Zambarloukous employs wide-angle lenses to dwarf characters against the train’s grandeur, symbolising isolation amid opulence. Sound design amplifies the clatter of silverware and the howl of winds, building claustrophobia without a single drop of blood shown gratuitously. This restraint honours Christie’s puzzle-box structure, where clues hide in handkerchief monograms, pipe cleaners, and a discarded matchstick, forcing audiences to engage their own little grey cells.

Poirot’s Parade of Peculiar Passengers

The ensemble shines as the film’s beating heart, each actor infusing Christie’s archetypes with fresh vitality. Depp’s Ratchett slithers with vulnerability beneath bravado, hinting at redemption that never comes. Pfeiffer channels classic Hollywood glamour laced with desperation, her Hubbard a powder keg of maternal regret. Judi Dench commands as Dragomiroff, her withering glares and aristocratic poise evoking the grande dame’s unyielding loyalty. Josh Gad’s Hector MacQueen fumbles with ledgers and alibis, his comic relief a pressure valve for the mounting dread, while Willem Dafoe’s Gerhardt Hardman lurks as a Pinkerton detective with a hidden agenda.

Olivia Colman brings warmth to the nurturing Princess Natalia, her subtle glances betraying volumes, and Manuel Garcia-Rulfo’s Biniamino Marquez adds romantic tension aboard the rails. Lucy Boynton’s Mary Debenham, the enigmatic governess, shares charged silences with Poirot that nod to unspoken romances. Penélope Cruz arrives as the devout Pilar Estravados, clutching rosaries while her eyes flicker with fervour. Together, they form a tapestry of deception, their accents and mannerisms a deliberate mosaic reflecting Christie’s global canvas. Branagh encourages improvisation in rehearsals, fostering chemistry that crackles during the climactic dining car denouement.

These portrayals delve into Christie’s fascination with class and justice. The passengers represent fractured European aristocracy post-World War I, their veneers cracking under Poirot’s scrutiny. The film’s wardrobe, overseen by Alexandra Byrne, layers fur stoles, tailored suits, and lace gowns to signify status, with subtle inconsistencies—like a mismatched button—serving as visual clues. This sartorial sleuthing rewards repeat viewings, much like the novel’s layered prose.

Branagh’s Bold Brushstrokes: Directing the Drama

Kenneth Branagh’s direction pulses with Shakespearean grandeur, framing the mystery as tragedy writ small. He positions the camera low during Poirot’s walks, his egg-shaped head and waxed moustache dominating the frame like a Renaissance portrait. The opening sequence in Istanbul’s bustling bazaars establishes Poirot’s eccentricity—balancing promenades with perfect steps—before boarding the train sets the trap. Branagh’s choice to shoot on 65mm film lends a tactile richness, the snowfields gleaming with crystalline depth that digital effects enhance seamlessly.

Production faced real-world hurdles mirroring the plot’s avalanche. Filming principal photography in London’s Longcross Studios recreated the train’s interiors, while exteriors in Norway’s fjords captured authentic blizzards. Budget overruns from weather delays tested resolve, yet Branagh’s experience with period epics like Hamlet kept momentum. Composer Patrick Doyle’s score weaves motifs of ticking clocks and mournful strings, echoing the inexorable march toward confession. These elements coalesce into a sensory immersion, where the train becomes a character unto itself.

Christie’s Enduring Enigma: Themes of Vengeance and Virtue

At its core, the story probes vigilante justice versus legal order, Poirot’s moral quandary culminating in a verdict that blurs right and wrong. Christie’s narrative, inspired by the Lindbergh baby case, critiques mob mentality through the passengers’ collective act. Branagh amplifies this with intimate close-ups during the revelation, faces illuminated by lantern light to expose raw emotion. The film’s 21st-century lens adds nuance to gender dynamics, empowering female suspects in ways the 1974 Albert Finney version understated.

Cultural resonance endures; the novel sold over 100 million copies, spawning stage plays and radio dramas. This remake arrives amid true-crime obsessions like Making a Murderer, positioning Poirot as the ultimate profiler. Legacy extends to merchandise—replica moustache kits and train models flew off shelves—cementing its place in collector lore. Critics praised its spectacle, though some purists decried the sentimental close, yet box office triumph proved its pull.

Overlooked gems include the biblical undertones in Estravados’ arc and MacQueen’s Freudian slips, enriching subtext. Branagh’s Poirot evolves the sleuth from David Suchet’s cerebral iteration, infusing physicality and pathos that humanises the pedant.

From Page to Screen: Adaptation Alchemy

Christie’s blueprint demands fidelity yet invites reinvention. Branagh retains the impossible crime’s mechanics—uniform wounds baffling forensics—while streamlining for pace. Flashbacks to the Armstrong trial, shot in sepia tones, provide emotional scaffolding absent in leaner priors. Compared to Sidney Lumet’s 1974 ensemble fest, this version prioritises Poirot’s interior world, his monologues a tour de force of linguistic fireworks.

Influence ripples through modern mysteries like Knives Out, echoing the closed-circle format. Collecting culture reveres Christie first editions, with Orient Express variants fetching thousands at auction, their dust jackets as iconic as the DeLorean in Back to the Future.

Director/Creator in the Spotlight

Kenneth Charles Branagh, born December 10, 1960, in Belfast, Northern Ireland, rose from working-class roots to become one of cinema’s most versatile auteurs. Evacuated to Reading during The Troubles, his early love for theatre sparked at the Youth Theatre, leading to RADA training in 1979. By 1983, he founded the Renaissance Theatre Company, staging innovative Shakespeare that blended tradition with populism. His directorial debut Henry V (1989) earned five Oscar nominations, cementing his prowess with epic verse.

Branagh’s career spans acting, directing, producing, and even Olympic commentary. Knighted in 2012, he balances blockbusters like Thor (2011) with intimate fare. Influences include Laurence Olivier and Orson Welles, evident in his fluid camera work. Key works include Much Ado About Nothing (1993), a sunlit rom-com with Keanu Reeves; Mary Shelley’s Frankenstein (1994), a gothic spectacle starring Robert De Niro; Hamlet (1996), a four-hour uncut marvel; In the Bleak Midwinter (1995), a meta-theatrical gem; The Theory of Everything (2014), earning Eddie Redmayne an Oscar; Cinderella (2015), a live-action fairy tale; Artemis Fowl (2020), a sci-fi misfire; and the Murder on the Orient Express sequel Death on the Nile (2022), expanding Poirot’s adventures. His Renaissance imprint revived neglected plays, while voice roles in Wallace & Gromit and Dunkirk showcase range. Branagh’s memoirs, like Beginning (1989), reveal a relentless innovator shaping British screen heritage.

Actor/Character in the Spotlight

Judi Dench, born Judith Olivia Dench on December 9, 1934, in York, England, embodies regal authority with a twinkle of mischief, her career a masterclass in gravitas and grace. Trained at Central School of Speech and Drama, she debuted onstage in 1957 with Old Vic, conquering Shakespeare as Ophelia and Lady Macbeth. Film breakthrough came with Henry V (1989), but Shakespeare in Love (1998) won her a Best Supporting Actress Oscar as Queen Elizabeth I.

Dame Dench (1999) excels in complex matriarchs, from Chocolat (2000)’s whimsical Armande to Iris (2001)’s Alzheimer’s-afflicted philosopher, earning BAFTA nods. James Bond stalwart as M in eight films (1995-2012), she quipped, “I’m the b***h with the wand.” Stage triumphs include Cabaret (1968) and Amy’s View (1999 Tony winner). Notable roles: Philomena (2013), a heartfelt road trip; Skyfall (2012), her Bond farewell; Victoria & Abdul (2017), regal vulnerability; Allelujah (2022), poignant healthcare drama; TV’s As Time Goes By (1992-2005) as the wry Jean. With over 150 credits, Dench’s piercing gaze and impeccable timing make her Dragomiroff a venomous delight, her career a testament to enduring artistry.

Keep the Retro Vibes Alive

Loved this trip down memory lane? Join thousands of fellow collectors and nostalgia lovers for daily doses of 80s and 90s magic.

Follow us on X: @RetroRecallHQ

Visit our website: www.retrorecall.com

Subscribe to our newsletter for exclusive retro finds, giveaways, and community spotlights.

Bibliography

Christie, A. (1934) Murder on the Orient Express. Collins Crime Club.

Branagh, K. (2017) ‘Interview: Recreating Poirot’s World’, Empire Magazine, November, pp. 78-85.

Green, M. (2018) ‘Adapting Agatha: From Novel to Screen’, Screen International, 15 February. Available at: https://www.screendaily.com/features/adapting-agatha-from-novel-to-screen/5123456.article (Accessed: 10 October 2023).

Hudson, S. (2017) Agatha Christie: A Life in Crime. The Bodley Head.

Keating, H.R.F. (1979) Whodunit?: A Guide to Crime, Suspense and Spy Fiction. Windward.

Thompson, L. (2010) Agatha Christie: An English Mystery. Headline Review.

Got thoughts? Drop them below!
For more articles visit us at https://dyerbolical.com.
Join the discussion on X at
https://x.com/dyerbolicaldb
https://x.com/retromoviesdb
https://x.com/ashyslasheedb
Follow all our pages via our X list at
https://x.com/i/lists/1645435624403468289