Every speculative fan must have his own favorite speculative novelist, whether it is the original personality, the declension, the social school, each spending their own eyes, and the subjective emotional word "like" often dominates our love. But Agatha Christie, the queen of reasoning, I think still unifies most of the aesthetics.
At the beginning of this number, I showed that I was a big fan of Masashi Yokomichi, and the other works were Kyogoku Natsuhiko, Quinn, and then Agatha Christie. Who would reject the work of this "nostalgic" queen?
Agatha christie
Friends who have seen "Murder on the Orient Express" know that the source of this murder is a kidnapping case many years ago, and like many of Gaba's works, the kidnapping case is based on a real case. This case is the famous Lindbergh kidnapping case of the 1930s.
The Armstrongs in the novel, husband of the American pilot Lindbergh, were the first to fly across the Atlantic. On the night of March 1, 1932, kidnappers kidnapped his 20-month-old son from his mansion in New Jersey and ransomed $50,000. Despite the ransom, 11 days later charles Lindbergh's body was found in the bushes not far from home. Nanny Betty Groh and her boyfriend were investigated but later proved innocent.
In the case, the maid Violet Sharp, suspected of being vague in her testimony, chose to commit suicide rather than tell the truth, which was that she had an affair with several men and was hanging out in a underground bar on the night of the crime.
Two years later, police finally found a suspect, New York carpenter Haupman.
Haupman denied the charges against him, his defense lawyer accused the police of falsifying evidence, and some even believed that the child had died accidentally after falling out of a window. After 11 hours of discussion, the jury came to a unanimous conclusion: the charges were convicted. Haupman always refused to plead guilty, and after his appeal was dismissed, he was sent to an electric chair in April 1936.
The discussion on the matter remains unresolved. He was always considered innocent because he had rejected offers to confess in exchange for a life sentence; Haupman's wife Anna had been calling for her husband's innocence until her death.
This case background paves a stunt and mysterious atmosphere for Jia Po's Oriental Express murder. Among The many divine works of Jia Po, the story of this work should be unparalleled, so it has been repeatedly remade by film and television gangsters. And that brings us to many versions.
The basics we see are:
(1) The classic version of Lumet in 1974;
(2) Phillip Martin's classic English drama in 2010;
(3) The latest version of the stars shining in 2017.
(4) There is also the Japanese version in 2015 and the modern version in 2001.
I have only seen 4 of the 5 versions here, and since the 2001 version has departed from the main storyline of Jia Po and is not highly rated, it is not in my recommendation range. And the Japanese version, many people are extremely disliked, I have seen, I just think it is decent, if you do not take it as a remake of "East Express" or you can watch, but the Japanese exaggerated detective and our cute Belgian Poirot obviously have nothing to do with it.
Here I will briefly compare the three versions of the original book, 1974, 2010 and 2017.
The 1974 version of Lumet, whether it is from the choice of actors or the delicacy of fu huadao, has come out on top of the three. This version of "East Fast" gave Ingrid Bergman her third Oscar in her life, "Little Golden Man". Lauren Baikall, Sean Connery, even such an old version, can still hear such a star-studded lineup. I have to say that the 1974 version is also a star-studded gathering.
Ingrid Bergman
Of course, what makes this one a classic is inseparable from the film, the restoration of the glitz and luxury of the 1920s and 1930s. Whether it is the final front of the real Orient Express, or the still luxurious set display in the box, including the precious private clothes of our big stars, with the ultimate magnificence, to set off the destruction of human nature by desire and the emptiness in the flashy dream.
The 2017 edition seems to have done just that, but in the "nostalgic" theme, it's slightly inferior. But at the end, the appearance of everyone in the "Last Supper" who is pregnant with a ghost fetus still looks quite shocking. The small-scale British drama here is certainly unattainable.
Then, let's talk about our protagonist, Poirot. The 1974 version of Poirot was approved by Gaba himself, but I personally still think that the 2010 version of Poirot is what this somewhat obsessive-compulsive Belgian detective should look like. Poirot, played by David Suchte, has no dramatic horse-catching, follows an elegant, stubborn old-fashioned gentlemanly demeanor, and looks out of place and even a little awkward in that era when old dreams have passed.
These two versions of the detective cracking process are remarkable, portraying Poirot's meticulous logical thinking and insight into details very vividly. In the 2017 version, this "Sherlock Holmes-style" Poirot is not only athletic, but also full of vitality and grotesque appearance, which is somewhat jumpy.
There is also the order of appearance of "Armstrong kidnapping" and "murder", in fact, it has an impact on the degree of suspense of the case. The 1974 version first introduced the "Armstrong kidnapping case" before officially entering the "Murder of the Orient Express"; in the 2010 version, the "Armstrong case" was taken by others after Poirot got on the car and explained the simple process; and the 2017 version, after the murder, confessed the kidnapping case.
Although the 1974 version largely fits the order of the original work, the advance explanation of the "Armstrong case" actually has a sense of spoilers, exposing the bottom of the murder case later, losing the atmosphere of the other two versions of the murder case.
Finally, from the perspective of the ending, although the ending of the 2010 version has a strong religious meaning, Poirot's final decision is the most logical of the three. The 1974 version of Poirot, after making all the reasoning, handed the final decision to the police, which is somewhat illogical here. It also weakens the detective's torment and trade-offs in procedural justice and substantive justice.
Overall, from the plot adaptation and logic, I still recommend the 2010 version of "Murder on the Orient Express", even if it has many mistakes and imperfections, but who would refuse to take this flashy old dream and have a thrilling trip with our lovely Poirot?
Every inch feels life, and all the anger is beautiful
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