“All Aboard the Orient Express”

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Below is a look at two major movies and a television movie that featured journeys aboard the famed Orient Express:

 

“ALL ABOARD THE ORIENT EXPRESS”

I will be the first to admit that I am not one of those who demand that a novel, a movie or a television production to be historically accurate. Not if history gets in the way of the story. But there is an anal streak within me that rears its ugly head, sometimes. And that streak would usually lead me to judge just how accurate a particular production or novel is.

Recently, I watched three movies that featured a journey aboard the legendary train, the Orient Express. Perhaps I should be a little more accurate. All three movies, “MURDER ON THE ORIENT EXPRESS” (1974)“MURDER ON THE ORIENT EXPRESS” (2010) and “FROM RUSSIA WITH LOVE” (1963) featured a famous route that came into existence nearly a year following World War I called the Simplon Orient Express. The original route for the Orient Express stretched from Paris to Istanbul via Strasbourg, Munich, Vienna, Budapest and Bucharest. Then in 1919, Compagnie Internationale des Wagons-Lits introduced a more southerly route, due to the opening of the Simplon Tunnel. This route stretched between Paris and Istanbul, via Lausanne, Milan, Venice, Belgrade and Sofia. Writers Agatha Christie and Ian Fleming made the Simplon Orient Express route famous thanks to their novels, “Murder on the Orient Express” (1934) and “From Russia With Love” (1957). And the movie adaptations of these novels increased the route’s fame.

Both Christie and Fleming’s novels featured the Simplon Orient Express’ route from Istanbul to Yugoslavia. There are reasons why their stories do not stretch further west to as far as at least France. In “Murder on the Orient Express”, the train became stuck in a snowdrift in Yugoslavia and detective Hercule Poirot spent the rest of the novel trying to solve the murder of an American passenger. And in “From Russia With Love”, British agent James Bond and his companion, Tatiana Romanova, made it as far as either Italy or France. The 1974 and 2010 adaptations of Christie’s novel, more or less remained faithful to the latter as far as setting is concerned. However, EON Production’s 1963 adaptation of Fleming’s novel allowed Bond and Tatiana to escape from the train before it could cross the Yugoslavia-Italy border.

While watching the three movies, I discovered that their portrayals of the Simplon Orient Express route were not completely accurate. I can imagine the thoughts running through the minds of many, declaring “Who cares?”. And I believe they would be right to feel this way. But I thought it would be fun to look into the matter. Before I do, I think I should cover a few basics about this famous train route from Istanbul to Paris-Calais.

During its heyday, the Orient Express usually departed from Istanbul around 11:00 p.m. Following the rise of the Iron Curtain after World War II, the Orient Express extended it route to stops in Greece in order to avoid the Soviet-controlled countries. The only Communist country it passed through was Yugoslavia. When the train became the slower Direct Orient Express in 1962, it usually departed Istanbul around 4:15 p.m. I do not know whether a restaurant car and/or a salon “Pullman” car was attached to the Direct Orient Express when it departed Istanbul between 1962 and 1977. One last matter. In the three adaptations of the two novels, the Orient Express usually made a significant stop at Belgrade. It took the Orient Express, during its heyday, at least 23 to 24 hours to travel from Istanbul to Belgrade.

Let us now see how accurately the two “MURDER ON THE ORIENT EXPRESS” movies and the 1963 “FROM RUSSIA WITH LOVE” flick accurately portray traveling aboard the Simplon Orient Express (or Direct Orient Express) on film. I will begin with the “MURDER ON THE ORIENT EXPRESS”, the 1974 adaptation of Agatha Christie’s novel.

 

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“MURDER ON THE ORIENT EXPRESS” (1974)

Following the conclusion of a successful case for the British Army somewhere in the Middle East, Belgian-born detective is on his way home to London, via a train journey aboard the famed Orient Express. When an American businessman named Samuel Rachett is murdered during the second night aboard the train, Poirot is asked by his friend and director of the Compagnie Internationale des Wagons-Lits, Senor Bianchi, to investigate the crime.

In this adaptation directed by Sidney Lumet, the Simplon Orient Express that left Istanbul did so at 9:00 at night. The movie also included a dining car attached to the train. One scene featured a chef examining food being loaded onto the train. This scene is erroneous. According to the The Man in Seat 61 website, there was no dining car attached to the train when it left Istanbul. A dining car was usually attached at Kapikule on the Turkish/Bulgarian border, before it was time to serve breakfast. The movie also featured a salon car or a “Pullman”, where Hercule Poirot interrogated most of the passengers of the Istanbul-Calais car.

 

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According to the “Seat 61” site, there was no salon “Pullman” car attached to the train east of Trieste, Italy. Christie needed the presence of the car for dramatic purposes and added one into her novel. The producers of the 1974 movie did the same. At least the producers of the 1974 used the right dark blue and cream-colored car for the Pullman. More importantly, they used the right dark blue cars for the train’s sleeping coaches, as shown in the image below:

 

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In the movie, the Simplon Orient Express reached Belgrade 24 hours after its departure from Istanbul. For once, the movie was accurate. Somewhere between Vinkovci and Brod, the Orient Express ended up snowbound and remained there until the end of the story.

 

 

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“MURDER ON THE ORIENT EXPRESS” (2010)

This adaptation of Agatha Christie’s novel first aired on Britain’s ITV network in 2010. The television movie started with Hercule Poirot berating a British Army officer caught in a devastating lie. After the officer commits suicide, Poirot ends up in Istanbul, where he and a British couple witness the stoning of an adulterous Turkish woman. Eventually, the couple and Poirot board the Orient Express, where the latter finds himself investigating the murder of an American passenger.

I do not know what time the Simplon Orient Express departed Istanbul in this adaptation. The movie never indicated a particular time. This version also featured a brief scene with a chef examining food being loaded aboard a dining car. As I previously mentioned, a dining car was not attached until Kapikule. The movie did feature Poirot and some of the Istanbul-Calais car passengers eating breakfast the following morning. In this scene, I noticed a major blooper. Car attendant Pierre Michel was shown serving a dish to Poirot in the dining car. Note the images below:

 

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Pierre Michel greets Poirot and M. Bouc before they board the train

 

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Pierre serves breakfast to Poirot

 

Why on earth would a car attendant (or train conductor, as he was called in the 1934 novel) act as a waiter in the dining car? Like the 1974 movie, the ITV adaptation also featured a salon “Pullman” attached to the train, east of Italy. In fact, they did more than use one salon “Pullman”. As I had stated earlier, the westbound Simplon Orient Express usually acquired a salon “Pullman” after its arrival in Trieste. But in this adaptation, the producers decided to use the dark blue and cream-colored “Pullman” cars for the entire train as shown in these images:

 

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This is completely in error. As I had stated earlier, the Orient Express usually featured a dark-blue and cream-colored salon “Pullman” between Italy and Paris. But it also featured the dark-blue and cream-colored seating “Pullmans” between Calais and Paris. There is no way that the Orient Express leaving Istanbul would entirely consist of the blue and cream “Pullman” cars.

However, the train did arrive at Belgarde at least 24 hours after its departure from Istanbul. Like the other movie, the train ended up snowbound between Vinkovci and Brod and remained there until the last scene. However, I am confused by the presence of the police standing outside of the train in the last scene. Poirot and the other passengers should have encountered the police, following the train’s arrival in Brod, not somewhere in the middle of the Yugoslavian countryside.

 

 

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“MURDER ON THE ORIENT EXPRESS” (2017)

In this adaptation of Christie’s 1934 novel, in which Kenneth Branagh directed and starred, Poirot solves a theft at the Church of the Holy Sepulchre in Jerusalem. The detective hopes to rest in Istanbul after traveling there via the Mediterranean and Agean Seas, but a telegram summons him to London for a case and he boards the Orient Simplon Orient Express with the help of young Monsieur Bouc, a director of the Compagnie Internationale des Wagons-Lits. When an American passenger named Samuel Rachett is found stabbed to death following his second night aboard the Orient Express, Poirot is asked to solve his murder.

 

 

This movie featured the departure of the Simplon Orient Express around 7:00 p.m., instead of eleven o’clock. However, this is probably the only adaptation of Christie’s novel that featured the strongest similarity to the real Sirkeci Terminal in Istanbul, the train’s eastern terminus.

However, I also noticed that passengers boarded via the dining car, at the tail end of the train. That is correct. This adaptation also has a dining car attached to the Orient Express in Istanbul, instead of having it attached at Kapikule, the Turkish-Bulgarian border crossing. And unlike the previous adaptations, the dining car and the lounge car are dark blue like the sleeping compartments, instead of a color mixture of dark-blue and cream-colored. Which was an error.

 

 

The movie did not feature a stop in Belgrade, Yugoslavia. It did, however, featured a brief stop at Vinkovci, before it encountered a snow drift, later in the night. Since it was definitely at night when the train stopped at Vinkovci, no error had been committed. Especially since it was not quite dark when the train departed from Istanbul. And the journey between Istanbul and Belgrade lasted roughly 24 hours. At the end of the film, Poirot departed from the Orient Express at Brod. This is also appropriate, since the train had been snowbound somewhere between Vinkovci and Brod in the novel. More importantly, unlike the 2010 adaptation, Poirot gave his false resolution to Rachett’s murder to the police … in Brod and not in the spot where the train had been trapped.

 

 

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“FROM RUSSIA WITH LOVE” (1963)

Ian Fleming’s tale begins with the terrorist organization, SPECTRE, plotting the theft of the KGB’s a cryptographic device from the Soviets called the Lektor, in order to sell it back to them, while exacting revenge on British agent James Bond for killing their agent, Dr. No. After Bond successfully steals the Lektor from the Soviet consulate in Istanbul, he, defector Tatiana Romanova and MI-6 agent Kerim Bey board the Orient Express for a journey to France and later, Great Britain.

While I found this adaptation of Ian Fleming’s 1957 novel extremely enjoyable, I found myself puzzled by the movie’s portrayal of Bond’s journey aboard the Orient Express. It seemed so . . . off. In the movie; the Orient Express conveying Bond, his traveling companions and SPECTRE assassin “Red” Grant; departed Istanbul somewhere between 3:00 and 4:00 o’clock in the afternoon. The train departed Istanbul around nine o’clock at night, in Fleming’s novel. Mind you, the novel was set in the 1950s and the movie, set in the early 1960s, which meant that its departure in the movie was pretty close to the 4:15 pm departure of the Direct Orient Express train that operated between 1962 and 1977. I do not recall seeing a dining car attached to the train, during its departure in the movie, so I cannot comment on that. But after the train’s departure, the movie’s portrayal of Bond’s Orient Express journey proved to be mind boggling.

The main problem with “FROM RUSSIA WITH LOVE” is that Bond’s journey proved to be the fastest I have ever witnessed, either on film or in a novel. It took the train at least three-to-four hours to reach Belgrade, following its departure from Istanbul. One, it usually took the Orient Express nearly 24 hours to reach Belgrade during its heyday. During the first ten-to-fifteen years of the Cold War, it took the Orient Express a little longer to reach Belgrade, due to it being re-routed through Northern Greece in an effort to avoid countries under Soviet rule. This was made clear in Fleming’s novel. But the 1963 movie followed the famous train’s original eastbound route . . . but at a faster speed. After killing Grant, Bond and Tatiana left the train before it reached the Yugoslavian-Italian border. Bond’s journey from Istanbul to that point took at least 15 hours. During the Orient Express’ heyday, it took at less than 48 hours. And during the 15 years of the Direct Orient Express, it took longer.

Unlike many recent film goers and television viewers, historical accuracy or lack of it in a movie/television production has never bothered me. I still remain a major fan of both “MURDER ON THE ORIENT EXPRESS” (1974 version) and “FROM RUSSIA WITH LOVE”. And although I have other major problems with the 2010 “MURDER ON THE ORIENT EXPRESS”, there are still aspects of it that I continue to enjoy. Historical inaccuracy has never impeded my enjoyment of a film, unless I found it particularly offensive. But since I can be occasionally anal and was bored, I could not resist a brief exploration of the Hollywood and British film industries’ portrayals of the Orient Express.

“MURDER ON THE ORIENT EXPRESS” (1974) Review

Below is my review of the 1974 adaptation of one of Agatha Christie’s most famous novels – “MURDER ON THE ORIENT EXPRESS”:

 

“MURDER ON THE ORIENT EXPRESS” (1974) Review

Whenever the topic of Agatha Christie novels pop up, many critics and fans seem to rate her 1934 novel, ”Murder on the Orient Express” as among her best work. This stellar opinion seemed to have extended to the 1974 movie adaptation. After all, the film did receive six Academy Award nominations and won one. Is  “MURDER ON THE ORIENT EXPRESS” the best adaptation of an Agatha Christie novel? Perhaps. Perhaps not. Is it my favorite? Hmmm . . . I will get to that later.

But I cannot deny that the movie, also produced by John Bradbourne and directed by Sidney Lumet, is a first-class production. One could easily see that Bradbourne and Paramount Pictures had invested a great deal of money into the production. They hired the very talented and award winning director, Sidney Lumet; along with an all-star cast led by Albert Finney; cinematographer Geoffrey Unsworth; production and costume designer Tony Walton; and Paul Dehn to write the screenplay.

One of the most unique aspects of this particular movie is that it started with a haunting montage featuring newspaper clippings and newsreel footage of a tragic kidnapping of a three year-old girl from a wealthy Anglo-American family named Daisy Armstrong. The kidnapping of young Daisy would end up playing a major role in the true identities of the murder victim and the suspects. The movie soon moved to Istanbul, five years later, where famed Belgian-born detective, Hercule Poirot (Albert Finney), is about to journey back to England via the Orient Express. Despite the unusually heaving booking in the train’s Calais coach, Poirot manages to secure a berth aboard the train thanks to an old friend, Signor Bianchi (Martin Balsam), who happens to be a director for the Orient Express’ owner – the Compagnie Internationale des Wagons-Lits. After the train departs Istanbul, a mysterious American art collector named Ratchett (Richard Widmark) informs Poirot that someone has been sending him threatening notes and asks for the Belgian’s protection. Due to Poirot’s instinctual dislike of Rachett, the detective refuses to help. And after the train finds itself snowbound in the Balkans, Rachett is stabbed to death in the middle of the night. Signor Bianchi asks Poirot to unearth the murderer.

“MURDER ON THE ORIENT EXPRESS” turned out to be the first screen adaptation of a Christie novel to feature an all-star cast. One that only included screen stars such as Lauren Bacall, Sean Connery, Ingrid Bergman, Anthony Perkins, Vanessa Redgrave, Jacqueline Bisset, Michael York and Jean-Pierre Cassel. The cast also included stage luminaries such as John Gielgud (who was a bigger star on the stage), Wendy Hiller, Denis Quilley and Colin Blakely. And all of them gave solid performances, although I do have a few quibbles about a few members of the cast.

Critics had been especially impressed by Finney’s interpretation of the Belgian detective and Ingrid Bergman’s role as a shy and nervous Swedish missionary. Both received Academy Award nominations and Bergman won. Personally, I am not certain if both actors deserved their nominations. They gave pretty solid performances. But I found nothing extraordinary about Bergman’s Swedish missionary. It was a first-rate performance, but not worthy of an Oscar nomination, let alone an Oscar. And although he gave a superb performance, there were times when Finney seemed to drift into some kind of parody of the Continental European. This is why I believe that actors with strong European backgrounds like Peter Ustinov and David Suchet should portray Poirot. But . . . I cannot deny that he gave a very good performance. And he also conveyed certain aspects of Poirot’s personality that I have never seen in Ustinov or Suchet’s portryals – one of them being a talent for manipulating others into revealing themselves during an interrogation. I also enjoyed his brief scene with Jeremy Lloyd, who portrayed an obsequious British Army officer that served as Poirot’s escort during the crossing of the Bosphorus Strait.

And there were times when some members of the rest of the cast seemed to be in danger of drifting into hammy acting. Sean Connery sometimes came off as heavy-handed in his British Army officer routine. And Anthony Perkins’ parody of his famous Norman Bates role irritated me to no end . . . especially since the literary version of his character – Hector McQueen – came off as a completely different personality. However, Perkins had one really good scene that featured no dialogue on his part.  But three performances did strongly impress me – namely Jean-Pierre Cassel as the rail car attendant, Pierre Michel; Rachel Roberts as a German lady’s maid named Hildegarde Schmidt; and Colin Blakely as Cyrus Hardman, an American detective masquerading as a talent scout. Unlike some members of the cast, these three managed to give subtle, yet convincing performances without sometimes careening into parody. And Blakely provided one of the most poignant moments in the film when Poirot revealed his character’s (Hardman) personal connection to the Daisy Armstrong kidnapping case.

As for the movie’s screenplay, I must admit that Paul Dehn and an uncredited Anthony Shaffer did an excellent job in adapting Christie’s novel for the screen. They managed to stay true to the novel’s original plot with very few changes. Their only misstep was in making the Hector MacQueen’s character into a parody of the Norman Bates role from”PSYCHO” (1960), due to Perkins being cast into the role. Or perhaps the fault lay with Lumet. Who knows? However, I cannot but express admiration over the brilliant move to include the montage that featured Daisy Armstrong’s kidnapping and murder at the beginning of the film. It gave the story an extra poignancy to an already semi-tragic tale. Despite these changes, Dehn and Shaffer basically remained faithful to the novel. They even maintained the original solution to the mystery. Granted, the solution made”MURDER ON THE ORIENT EXPRESS” one of the most unusual murder mysteries in the history of Hollywood, let alone the literary world. And although the revelation of the murderer(s) came off as somewhat inconceivable, it made the movie memorable . . . aside from the flashback that revealed Rachett being murdered. That seemed to last longer than necessary. I also have a different opinion regarding the fate of the murderer(s). When I had been younger, it never bothered me. Now . . . it makes me slightly uneasy. If you have read the novel or seen the movie, you will know what I am talking about.

Richard Rodney Bennett had received a great deal of praise and an Oscar nomination for his score. I thought it meshed beautifully with the scenes featuring the Orient Express’ departure from Istanbul . . . and its continuing journey at the end of the film. However, there were times when I found it a bit over-dramatic and slightly out of place for a murder mystery. I really admired Tony Walton’s production designs for the movie. I thought it truly invoked the glamour and magic of traveling aboard the Orient Express in the 1930s. And it also conveyed the claustrophobic conditions of traveling by train, beautifully. Surprisingly, he also designed the movie’s costumes. I can only assume he was trying to adhere to Sidney Lumet’s desire to recapture the old Hollywood glamour from the 1930s. Unfortunately, I felt that Walton’s costumes for most of the characters seemed a bit over-the-top. But I must admit that I admired his costumes for Jacqueline Bisset, Ingrid Bergman and Vanessa Redgrave’s characters.

In the end, one has to give Sidney Lumet high marks for putting all of this together to create a classy adaptation of an unusual novel. Granted, I have a few qualms with some of the performances, characterizations and the plot’s resolution. And there were times in the middle of the movie when Lumet’s pacing threatened to drag the film. In the end, Lumet’s direction managed to maintain my interest in the story. And ”MURDER ON THE ORIENT EXPRESS” remains a favorite movie of mine after 37 years.