Branagh’s untraditional Murder
Ahead of the release of his bigbudget Agatha Christie adaptation, Kenneth Branagh talks Murder and moustaches with John Anderson.
When he was an adolescent, Kenneth Branagh’s mother started reading detective fiction, and one title in particular – Murder on the Orient Express – really caught his eye. ‘‘It’s a great title,’’ said the 56-year-old actor-director. ‘‘So clear, so direct, so punchy. And confident. I remember reading it back then and really ripping through it.’’
By comparison, says Branagh – whose new adaptation of the 1934 Agatha Christie novel opens this week – it took him seven attempts and 25 years to get through War and Peace. ‘‘Now, I’m not saying Murder on
the Orient Express is a better book,’’ says Branagh, puckishly, ‘‘but Tolstoy deals with so many characters that are so hard to follow, and Agatha Christie has about 15 who are potentially central to the action and you know who everyone is. What she does is a real juggling act’’. It’s one that Branagh tries to emulate on screen in his highly stylised, visually lush adaptation set aboard a train bound from Istanbul to Paris, carrying a dozen potential murderers and one nasty, ventilated corpse.
The movie features a cast that includes Johnny Depp, Michelle Pfeiffer, Penelope Cruz, Dame Judi Dench, Manuel Garcia-Rulfo and Branagh, who plays the elaborately moustachioed detective Hercule Poirot. It departs from the book, which began with a recap of a crime Poirot had just solved, and the 1974 movie, which recaps a different crime – the one Christie based on the Lindbergh baby kidnapping, and which is at the centre of the slaying committed five years later, by a person or persons aboard the luxurious and, at one point, snowbound train.
Branagh’s version, with its script by Michael Green (Blade
Runner 2049), begins in Jerusalem, with Poirot in the middle of solving an antiquities theft.
‘‘I thought, ‘Let’s see Poirot in action. Start the movie with a denouement’,’’ Branagh says. ’’So when he gets on the train we, the audience, already know who he is, and how he’s smarter than the average bear.’’
Branagh says he loved the 1974 film, ‘‘which was made by a master, Sidney Lumet, whom I had a chance to meet. He told me he wanted that movie to be a ‘romp’. And that’s fine. I wanted our version to be entertaining, but I also wanted it to be about the brooding undercurrent in Christie’s novel, about the death of innocence. I needed to feel from everybody that we’re not just in a romp, but a situation which could mean life or death for everyone on board.’’
As each variation on Poirot has made plain (including the TV series Masterpiece Mystery! starring David Suchet), Murder on
the Orient Express does not attract, or even thrive on, what one would call understated acting.
‘‘It’s very easy to chew the scenery,’’ laughs Josh Gad, who plays McQueen, secretary to Depp’s thuggish Ratchett.
‘‘Especially when you’re all in an intimate setting and there are so many people who could very well carry their own film, all working in conjunction to make an ensemble story.’’
He said it all came down to Branagh and his diligence in giving everyone their own moment, and doing so ‘‘in a way that doesn’t feel overwrought’’.
Leslie Odom Jr agrees. The actor, who originated the Aaron Burr role in Hamilton, plays Dr Arbuthnot (originally Colonel Arbuthnot), who is romantically involved with Daisy Ridley’s Mary Debenham. ‘‘The characters are in life-or-death circumstances and also, not everyone is who they appear to be,’’ he says. ‘‘So it lends itself to some big performances... There’s an opportunity to have some fun with the characters.’’
Odom’s casting is untraditional; it’s hard to recall a black actor in a Christie adaptation at all, much less in a romantic entanglement. The fact Arbuthnot is a doctor in 1934, whose novelty someone remarks on, is explained in the dialogue, but the romance goes all but unmentioned. ‘‘It’s definitely in there, though,’’ Odom says; if you see the movie again, you understand their initial furtiveness.
‘‘People would have had opinions about that, and there’s a little danger there. I think Arbuthnot and Debenham are on their way somewhere – Amsterdam or Paris – a place where they could make a life, have a family, somewhere they’re going to feel safe.’’
No one is safe aboard the Orient Express, of course, once the murder is discovered and Poirot is on the case. Speaking of which, what is that hard-shell piece of luggage the detective carries from train to station? Well, it seems that for all the moustache in Murder on
the Orient Express, there was going to be considerably more.
‘‘We created this immense, swirling thing that Agatha Christie herself described as having a ‘tortured splendour’,’’ Branagh says.
‘‘It was a real introduction to me – when you have a moustache that immense, the level of maintenance is really significant. So that little hand case he carries through the movie contains every conceivable pair of scissors, combs, curling tongs, wax, nostril clippers, hair clippers, ear-hair clippers and brushes for the moustaches. And we had scenes of Poirot in full grooming mode. But in the end, due to the ruthless demands of pacing, we didn’t use it.’’ ❚ Murder on the Orient Express (M) opens in New Zealand cinemas on Thursday.