Murder on the Orient Express

Plot

In 1930, toddler Daisy Armstrong, daughter of British Army Colonel Hamish Armstrong and his American wife Sonia, is kidnapped and murdered.

In December 1935, Hercule Poirot travels from Istanbul to London on the Orient Express. His old friend, Signor Bianchi, a director of the company that owns the rail line, arranges Poirot's accommodation after all the first-class compartments are unusually sold out during the off-season. Other passengers include American socialite Harriet Belinda Hubbard; English governess Mary Debenham; Swedish missionary Greta Ohlsson; American businessman Samuel Ratchett, with his secretary/translator Hector McQueen and English valet Edward Beddoes; Italian-American car salesman Antonio "Gino" Foscarelli; elderly Russian Princess Natalia Dragomiroff and her German maid Hildegarde Schmidt; Hungarian Count Rudolf Andrenyi and his wife Elena; British Army Colonel John Arbuthnott; and American theatrical agent Cyrus B. Hardman.

The day after the train's departure, Ratchett requests to hire Poirot as a bodyguard as he has received death threats, but Poirot declines despite a very generous fee. When the train stops in Belgrade, Bianchi gives Poirot his compartment and shares a coach with Greek physician Stavros Constantine. During the night, a snowdrift in Yugoslavia strands the train, while Poirot is awakened by a moan from Ratchett's compartment. Conductor Pierre Michel is told through the door that it was just a nightmare. Ratchett is dead the next morning; drugged and stabbed twelve times.

Poirot finds a charred letter fragment revealing Ratchett's true identity: American gangster Lanfranco Cassetti, who along with an accomplice, had carried out Daisy Armstrong's kidnapping and murder. Cassetti had betrayed his accomplice and fled the country with the ransom money. Mrs. Armstrong then died giving premature birth to a stillborn baby, and Colonel Armstrong committed suicide. A French maidservant Paulette, suspected of complicity in the kidnapping, also committed suicide before being found innocent. Bianchi feels that there is justice in Cassetti's death.

Poirot finds Cassetti's broken watch showing 1:15, and concludes that Cassetti was murdered at that time when the moaning was heard. Hubbard says that she found a Wagon-Lit conductor's button in her compartment and a bloodied knife in her makeup bag. Foscarelli says that he knew Cassetti was "Mafioso", and theorizes that he was killed in a Mafia feud.

Production

Development

Dame Agatha Christie had been quite displeased with some film adaptations of her works made in the 1960s, and accordingly was unwilling to sell any more film rights. When Nat Cohen, chairman of EMI Films, and producer John Brabourne attempted to get her approval for this film, they felt it necessary to have Lord Mountbatten of Burma (of the British royal family and also Brabourne's father-in-law) help them broach the subject. In the end, according to Christie's husband, Sir Max Mallowan, "Agatha herself has always been allergic to the adaptation of her books by the cinema, but was persuaded to give a rather grudging appreciation to this one." According to one report, Christie gave approval because she liked the previous films of the producers, Romeo and Juliet and Tales of Beatrix Potter.

Casting

Christie's biographer Gwen Robyns quoted her as saying, "It was well made except for one mistake. It was Albert Finney, as my detective Hercule Poirot. I wrote that he had the finest mustache in England — but he didn't in the film. I thought that a pity—why shouldn't he?"

Cast members eagerly accepted upon first being approached. Lumet went to Sean Connery first, who admitted that he had been "stupidly flattered" by Lumet saying that if you get the biggest star, the rest will come along. Bergman was initially offered the role of Princess Dragomiroff, but instead requested to play Greta Ohlsson. Lumet said:

She had chosen a small part, and I couldn't persuade her to change her mind. She was sweetly stubborn. But stubborn she was ... Since her part was so small, I decided to film her one big scene, where she talks for almost five minutes, straight, all in one long take. A lot of actresses would have hesitated over that. She loved the idea and made the most of it. She ran the gamut of emotions. I've never seen anything like it.

Bergman won an Academy Award for Best Supporting Actress for the portrayal.

The entire budget was provided by EMI. The cost of the cast came to £554,100.

Filming

Unsworth shot the film with Panavision cameras. Interiors were filmed at Elstree Studios. Exterior shooting was mostly done in France in 1973, with a railway workshop near Paris standing in for Istanbul station. The scenes of the train proceeding through Central Europe were filmed in the Jura Mountains on the then-recently closed railway line from Pontarlier to Gilley, with the scenes of the train stuck in snow being filmed in a cutting near Montbenoît. There were concerns about a lack of snow in the weeks preceding the scheduled shooting of the snowbound train, and plans were made to truck in large quantities of snow at considerable expense. However, heavy snowfall the night before the shooting made the extra snow unnecessary—just as well, as the snow-laden backup trucks had themselves become stuck in the snow.

Music

Richard Rodney Bennett's Orient Express theme has been reworked into an orchestral suite and performed and recorded several times. It was performed on the original soundtrack album by the Orchestra of the Royal Opera House, Covent Garden under Marcus Dods. The piano soloist was the composer himself.

Reception

Box office

Murder on the Orient Express was released theatrically in the UK on 22 November 1974 and in the USA on 24 November 1974. Paramount Pictures handled the films North American release. The film was a success at the box office, given its tight budget of $1.4 million, earning $36 million in North America, making it the 11th highest-grossing film of 1974. Nat Cohen claimed it was the first film completely financed by a British company to make the top of the weekly US box office charts in Variety. The movie - which was Cohen's idea - is considered one of the great triumphs of his career. The success of the movie prompted the Rank Organisation to re-enter the filmmaking space.

Critical response

On Rotten Tomatoes the film holds an approval rating of 89% based on 46 reviews. The website's critics consensus reads, "Murder, intrigue, and a star-studded cast make this stylish production of Murder on the Orient Express one of the best Agatha Christie adaptations to see the silver screen." On Metacritic it has a weighted average score of 63 out of 100, based on 8 critics, indicating "generally favorable reviews".

Roger Ebert gave the film three stars out of four, writing that it "provides a good time, high style, a loving salute to an earlier period of filmmaking". The New York Times's chief critic of the era, Vincent Canby, wrote

[...] had Dame Agatha Christie's Murder on the Orient Express been made into a movie 40 years ago (when it was published here as Murder on the Calais Coach), it would have been photographed in black-and-white on a back lot in Burbank or Culver City, with one or two stars and a dozen character actors and studio contract players. Its running time would have been around 67 minutes and it could have been a very respectable B-picture. Murder on the Orient Express wasn't made into a movie 40 years ago, and after you see the Sidney Lumet production that opened yesterday at the Coronet, you may be both surprised and glad it wasn't. An earlier adaptation could have interfered with plans to produce this terrifically entertaining super-valentine to a kind of whodunit that may well be one of the last fixed points in our inflationary universe.

Agatha Christie

Christie, who died fourteen months after the release of the film, stated that Murder on the Orient Express and Witness for the Prosecution were the only movie adaptations of her books that she liked although she expressed disappointment with Poirot (Finney)'s moustache, which was far from the fabulous hirsute creation she had detailed in her mysteries.