Poirot falling to pieces was a novelty. I’ll give them that. But the consensus in these parts seemed to be that we prefer a slightly saner Poirot, and if the murderers can be more cheerful as they go about their business that would not be a bad thing. At least if it’s Murder on the Orient Express, and they are almost justified, and they get to travel on that great train.
But it must have been the justification that had the screenwriter in a twist. It wouldn’t be pc to allow murderers to get away with it (although it seems to be in vogue in real courts, here and now), so we need to have Poirot all religious and with flashback to a possible mistake made earlier, as well as putting the current murderers in context with the stoning of an adulteress.
It is a very Christmassy Christie, what with the snow and all. Considerably more ‘current news’ than they could possibly have hoped for, as well. Trains stuck. Cold trains. Bad customer service. Ineffective digging in snow drifts. Almost British. The period feel is good, and the train is lovely.
But we don’t want Poirot falling to pieces. He didn’t in the ‘old’ film, nor, as far as I recall, did he in the book. When did he become a catholic, or at least, so overtly religious? As the film began Daughter muttered that she hoped they weren’t going to change who did it. A bit hard with this scenario, but it began to look as if they’d change Poirot’s decision at the end.
Was it just me, or had much of the casting been done by someone who knew exactly what each character should look like, as defined by the old film?
And was this intended as Poirot’s last case? If so, I suppose he’s allowed to go round the bend somewhat. As Son pointed out, everyone was so very angry.
(This post co-published with CultureWitch)