In December 1935, when his transcontinental luxury train is stranded by deep snow, detective Hercule Poirot is called on to solve a murder that occurred in his car the night before, with a m... Read allIn December 1935, when his transcontinental luxury train is stranded by deep snow, detective Hercule Poirot is called on to solve a murder that occurred in his car the night before, with a multitude of suspects.In December 1935, when his transcontinental luxury train is stranded by deep snow, detective Hercule Poirot is called on to solve a murder that occurred in his car the night before, with a multitude of suspects.
- Won 1 Oscar
- 10 wins & 17 nominations total
- Pierre Paul Michel
- (as Jean Pierre Cassel)
- Hardman
- (as Colin Blankey)
- Director
- Writers
- Agatha Christie
- Paul Dehn
- Anthony Shaffer(uncredited)
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaIn 1929, a westbound Orient Express train was stuck in snow for five days at Çerkezköy, approximately one hundred thirty kilometers (eighty-one miles) from Istanbul, Turkey. This incident inspired the setting of the book and movie.
- GoofsIn Istanbul a muezzin is heard giving the standard Muslim azan (call to prayer) in Arabic: "Allahu Akbar! Allahu Akbar!" However, the movie is set during the 1930s when Mustafa Kemal Atatürk was in power. During this time, the Arabic azan was outlawed, and a Turkish one ("Tanri Uludur!") had to be used instead. After Atatürk's death in 1938, the law was repealed.
- Quotes
Foscarelli: Hey, what are you reading, Mister Beddoes?
Beddoes: I am reading "Love's Captive," by Mrs. Arabella Richardson.
Foscarelli: Is it about sex?
Beddoes: No, it's about 10:30, Mister Foscarelli.
- ConnectionsFeatured in The Dumb Waiter (1979)
- SoundtracksOverture And Kidnapping
(uncredited)
Composed by Richard Rodney Bennett
Performed by Orchestra of the Royal Opera House (as Royal Opera House Orchestra, Covent Garden) conducted by Marcus Dods
The acting isn't meant to be taken seriously either. First, there is Albert Finney as Poirot, who looks absolutely great with every visible hair waxed to perfection, and an indefinable accent that wavers a bit from scene to scene, as if he were, as John Simon put it, "sending up trial Walloons." Everyone else overacts hammily (and enjoyably) too. Especially enjoyable is Sir John Gielgud as the batman or butler or valet or whatever he is, explaining away a "contusion" on the back of his head with, "The result of a fracas in the mess, concerning the quality of a pudding, sir, know as 'spotted dick'."
There were one or two other things in the script that Agatha Christie (played by Vanessa Redgrave in "Agatha") could not have gotten away with. Guilgud also does a marvelous job with the simple act of stabbing his employer, wriggling the dagger from side to side in the unconscious man's chest, and yanking it out with a theatrical flourish and an expression not of rage but of utter contempt. Likewise impressive is Sean Connery as Colonel Arbuthnot, that mess hall accent and demeanor, that mustache more firmly established than the Empire itself, snapping at Poirot that he would not have been stupid enough to use his "peep cleaner" and leave it in the murdered man's ash tray.
The least interesting performances probably include Jacqueline Bissett, Peter York, and some minor characters, but this is partly because their roles require less of them. (How can you be a hammy wagon-lit conductor?) I haven't read the novel in years but my impression is that this movie, with its additional wit, is an improvement.
The elegance of first-class travel on a train whose very name is suggestive of mystery and romance is nicely conveyed. It's snowy and scenic and bitterly cold outside, but in these beautifully appointed compartments we are well and snug and can order fresh oysters and fruit and poached sole with one new potato and a green salad with no dressing. It's cramped of course, but that merely adds to the impression of coziness.
The Orient Express as I experienced it in third class isn't really very elegant. The only space I could find was on the metal floor in front of a bathroom, whose door kept swinging open and shut. Everyone on board seemed to have a digestive disorder. After buying a bottle of home-made chianti from a vendor at one of the stops, for twenty-five cents, so did I. I suppose you have to be well-to, British, and middle class, as Christie was. All her views of the world, gathered in the wake of her archaeologist husband, are tourist's views, which is just fine.
The plot, as always in a Christie story, is as finely tuned as a watch and follows its format as closely as any episode of "Columbo." Poirot meets an old friend in some unusual place. A murder takes place. Poirot interviews everyone and pieces the whole thing together, no matter how improbable the feat. The last chapter (or reel) has the guests gathered together silently while Poirot strides around, or in Finney's case, shuffles around, and explains what has happened and why. The solutions are usually a surprise when they are finally revealed, but repeated viewings don't hurt. In fact, knowing ahead of time what the end will look like gives us a chance to appreciate better the display and character and the planting of clues, real and false. This is nothing more than a divertimento but it is a highly likable one, without pretense, and neatly done.
- rmax304823
- Nov 24, 2002
- Permalink
Everything New on Paramount+ in September
Everything New on Paramount+ in September
Details
- Release date
- Countries of origin
- Official site
- Languages
- Also known as
- Mord im Orient-Express
- Filming locations
- Istanbul, Turkey(Exterior)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- £1,500,000 (estimated)
- Gross US & Canada
- $27,634,716
- Gross worldwide
- $27,659,517
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