Murder on the Orient Express (Sydney Lumet, 1974)

Two things stand out to me as remarkable when I watch Murder on the Orient Express (Sydney Lumet, 1974). The first is the outstanding ensemble cast led by Albert Finney and peppered with a who's who list of actors. Second is the truly dazzling work overseen by the great Sydney Lumet. His work is often overlooked when it comes to the great directors and that is a tragic error. First, the cast.

Agatha Christie's quirky protagonist Hercule Poirot (Finney) leads us through a never ending series of twists and turns, lies and deceptions on the part of the ensemble of culpable characters. The film opens with the abduction and disappearance of Daisy Armstrong and this sets the criminal activity in motion. Poirot is a guest aboard the famed Orient Express and from the beginning the insidious looks, the sneaky movements and plotting are afoot. When Cosetti (Richard Widmark) the true villain is murdered (remember the key word true) Poirot is tasked with finding out the identity of the killer. Here is where a brilliant ensemble cast shines brightest. Lauren Bacall and Ingrid Bergman are the two brightest of the group, long stars making appearances as good as any they ever put to screen. Also giving stellar turns are Sean Connery, Vanessa Redgrave, Anthony Perkins and others. But this cast is only as great as their intrepid lead, Albert Finney. Finney plays the quirky Poirot to a fine point. He captures the essence of a man who uses intellect and reasoning and who has no care for the finer subtleties of when he must deal with those vastly inferior to his intellect. This film is truly a showcase for how great an actor Finney is, and like the films great director often he is overlooked when it comes to placing such stars in context.

And to overlook Lumet is truly a crime worthy of a Poirot type investigation. Lumet's films do not have the overarching 'Lubitsch touch' nor do they speak on broad social matters like a Wilder film. But what Lumet lacks for in grandness of vision he makes up for in consistent quality and this film is full of quality. From the opening sequences where Lumet sums up the earlier crime through vintage style newsreel footage, this film displays itself as a throwback. Throughout the film Lumet also displays varying color schemes, setting mood and tone and different plot points. The overall production design is outstanding, with costumes that are rich and full, and set design that makes the film feel as if it was actually filmed in Istanbul station and aboard the Express herself. Lumet also works wonders with shots of the train and anyone who loves film needs to read his great book 'Making Movies'. This book is an essential to any aspiring filmmaker. From top to bottom, truly a great film.