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The uber-civilised business of murder most foul

Robyn Sassen
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VILLAIN in a steam train: Johnny Depp plays the wicked Mr Ratchett. Photograph courtesy http://www.variety.com

THERE’S SOMETHING IRREVOCABLY escapist in an Agatha Christie murder mystery. Not for moral reasons, but for the sleight of hand, the twist in the tale and the characters that populate her stories. This remake of the 1974 classic film, featuring a host of enormous names, from Sean Connery to Ingrid Bergman, with David Suchet in the role of the inimitable Hercules Poirot, the greatest detective in the world, at the right place, at the right time, is delightful. It’s not without its flaws, but it is eye candy in the most lovely of ways.

Put a bunch of prominent and distinctive strangers together on a train en route to Istanbul from Jerusalem, with all its Art Deco detail and wood panelling. Pop off one of them, in a sufficiently violent way. And then derail the train, thus trapping all of them, including the killer, whoever he or she may be, in a context where all must be revealed. And there you have the plot, which grows with abandon in curious directions.

But it’s not for the plot that you watch and are seduced by a yarn of this nature. It’s for the characters. Christie’s writing genius was more about her ability to envelop a character in the round, with all his or her idiosyncrasies and hilarious quirks, with all his or her vulnerabilities and hard core beliefs. And she does this in a couple of sentences, a throwaway line or two.

The filmed version of this pays critical attention to detail, in terms of poise and costume, gesture and mien of each of the characters. And while at times you feel that these are constructed and highly polished simulacra rather than characters, as such, each is completely delicious. The work is replete with an unabashed colonialist fascination with Israel – it’s set in 1934 – and a whole range of racist and sexist barbs which need to be understood in the context of the time, but it’s lively and fine entertainment.

To its disservice, however, several of the cast members, including Michelle Pfeiffer as Mrs Hubbard and Daisy Ridley as Mary Debenham are seemingly far too young for the roles they embrace. Is it a flaw of make-up and directed performance? Are they really too young? This is a moot point, but as the plot unfolds, and all is revealed, there are generational connections between the cast and these two stick out as anomalies.

Other silly events such as a stabbing which is so lacking in credulity, it is laughable, pepper this work, but they’re events in which all can be forgiven. This rip-roaring and fabulous mystery and its resolution, will cast you in beautiful geographies and exciting climes. The work is generously sprinkled with magnificent cameos which make it happen – from Judi Dench to Johnny Depp, with a soupçon of Penélope Cruz and Derek Jacobi, this is a treat. Kenneth Branagh ably balances his role as Poirot, director and one of the producers of this film, but it does make you wonder what kind of a collaborator he may be in a project of this nature.

And finally a word must be added for Poirot’s moustache which is the main character in many stills. It’s so fabulous, it deserves a credit all of its own.

 

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