A rail whodunnit

The classic Murder On The Orient Express gets a new Hollywood update with an all-star cast, writes

THE murder mystery narrative is a timeless one in fiction. Few come close to the craft of orchestrating thrilling whodunnit stories than English writer Agatha Christie. One of her most famous titles, has already been adapted to the big and small screens.

The murder mystery features Christie’s famous sleuth, the prickly Hercule Poirot, who would give Sherlock Holmes a run for his money in getting to the bottom of solving mysterious killings.

Back in 1974, a version directed by Sidney Lumet had an all-star cast that included Lauren Bacall, Ingrid Bergman, Sean Connery and Vanessa Redgrave, with Albert Finney as Poirot.

A TV movie in 2001 saw Alfred Molina take on the role of Poirot in another rendition.

Perhaps the most well-known portrayal of the fictional Belgian detective goes to actor David Suchet in the long-running TV series,

which ran from 1989 to 2013.

The classic murder mystery on the illfated train was made into an episode for the series in 2010.

NEW AIR OF MYSTERY

continues its enduring and potent train mystery in a new Hollywood film, directed by Kenneth Branagh.

In addition to being the film’s co-producer, Branagh also stars as the inimitable Poirot, complete with an even broader handlebar moustache.

What starts out as a lavish ride on the iconic Orient Express from Istanbul to London, quickly unfolds into one of the most stylish, suspenseful and thrilling mysteries ever told.

Someone is murdered. Thirteen strangers are stranded on the train in a snowdrift.

Every one of them is a suspect. It’s a race against time to discover the identity of the murderer before he or she strikes again.

Tasked with solving the puzzle is Poirot of course.

The film promises to take the audience back in time to the Golden Age of rail travel. Transported into a world of glamour, opulence and danger, nothing is as it seems on the Orient Express, as viewers are swept up in an intriguing tale of deception, loyalty, love and revenge.

AN ENIGMATIC MIX

Like the previous movie from the 1970s, this new edition features an ensemble cast that includes Willem Dafoe, Judi Dench, Johnny Depp, Josh Gad, Derek Jacobi, Leslie Odom Jr., Michelle Pfeiffer, Penelope Cruz and Daisy Ridley.

Spanish actress Cruz, who plays Pilar Estravados, says that her missionary character is a very introverted woman with a very big secret.

“She suffers from past trauma and she’s trying to deal with that in the best way that she can,” says the 43-year-old Madrid-born mother of two, who has received Academy Award nominations for her roles in (2006), (2008) and

(2009).

Pfeiffer, a longstanding Hollywood actress, plays the well-travelled Caroline Hubbard.

The 59-year-old Californian, who won a Best Supporting Actress Oscar for

(1988) and Best Actress Oscars

(1989) and (1992), says that all the characters have dark secrets and agendas of their own, which makes it an exciting amalgam of relationships onscreen.

Also in agreement is young English actress Ridley.

The 25-year-old Londoner shot to fame recently in the lead role of Rey in

(2015) and will reprise her character in the December-release of

for

Here, she plays Mary Debenham, who shares an interesting relationship with Poirot.

“She knows of him and has a particular affinity to the way he’s solving a puzzle, and the whole affair is sort of a puzzle to her as well,” says Ridley.

Below, the three actresses talk more on the new murder mystery that’s on track to excite audiences.

ON BEING FAMILIAR WITH THE ORIGINAL BOOK OR PREVIOUS FILM

I had seen it and had read it when I was very, very young.

I haven’t read the book and haven’t seen the film, although I’ve seen a lot of other Agatha Christie stuff, so I went: “Oh why haven’t I seen this particular one?”

But I read the script and was gobsmacked. Later I read the book and it was rather nice doing it that way round because I saw the thing we were going to do first, and obviously its beginnings, but also the changes that had been made and was able to appreciate them in those terms. I think Mary is warmer in the film than in the book.

It’s been awhile. But Ken (Branagh) didn’t want us to read the novel or to watch the previous movie again. He wanted us to go in fresh.

WORKING WITH KENNETH

BRANAGH

He’s not only a great actor he’s a great director as well. It’s always interesting to work with a director, who is also an actor, because the communication is different. They have experienced all the same feelings that you’ve gone through, so sometimes you don’t even need to talk, he’ll look at you and he knows what you’re going through. He also handles the big cast well. Working with this incredible cast was amazing. I admire every single one of them and they’re great people.

He is extraordinary. We (with actor Josh Gad) went to see him perform in the play

which was a show he co-directed and was artistic director for this season at the theatre, and he was tap dancing like a legend. The play finished at 11pm and the next morning he was doing prep work, make up, hair tests and rehearsals for this film. The man can do it all. Gad said that its kind of extraordinary to watch but it kind of makes you feel worthless as well (laughs).

When you first see Ken as Poirot, you’re taken aback. You can’t ignore the mustache (laughs). What is extraordinary to me is that Ken makes it handsome, he somehow makes it work. He has made Poirot incredibly charming and a little bit devilish.

The ensemble cast of Murder On The Orient Express

ON THE TRAIN SET

There was a lot of attention to detail. You almost didn’t want to touch anything in case of ruining it. Even all the cakes looked unreal,

everything was perfect and just beautiful. But we experienced that part of the movie that was more confined. The small spaces were almost claustrophobic sometimes because there was so many of us all in one room.

Then when I saw the trailers I was: “What movie is that?” The train was this epic huge thing. The way Kenneth plays with the contours of this huge space is that it can also make you feel a different kind of vertigo. Going from that to this kind of very small room, you know these characters are trapped for reasons we cannot discuss right now, but this contrast I think is very interesting.

It’s just remarkable inside. They made it slightly wider to facilitate the camera crew but otherwise it was totally the way it was back then. The luxury was insane, and historical too. The way people travelled back then, it was such an event and so romantic to get on a train.

They also built this cliff side at the back of the studio, where the train is perilously leaning over the edge with snow covered mountain peaks. You’re up there and its all tangible. Most times this kind of thing is all digital, so having this spatial connection was great for us actors.

Yeah, it certainly felt like being on a real train, because it really moved and the train looked absolutely authentic. Sometimes we had real scenery coming by (the window) that we would see, that would help to make

(From left) Ridley, Pfeiffer a