Composite Score: 81.37

Starring: Albert Finney, Lauren Bacall, Ingrid Bergman, Sean Connery, Martin Balsam, Jacqueline Bisset, Jean-Pierre Cassel, John Gielgud, Wendy Hiller, Anthony Perkins, Vanessa Redgrave, and Richard Widmark

Director: Sidney Lumet

Writers: Paul Dehn, Agatha Christie, and Anthony Shaffer

Genres: Crime, Drama, Mystery

MPAA Rating: PG

Box Office: $27.66 million worldwide

Why should you Watch This Film?

                Murder on the Orient Express is a classic of the mystery genre, adapting one of Agatha Christie’s best-known works for the big screen. With a cast of characters deep with talent and solid performances from each suspect and even from Albert Finney as the Belgian Hercule Poirot, the film keeps you entertained and guessing at the true murderer throughout.

Why shouldn’t you Watch This Film?

                If you already know how the mystery ends (whodunnit), this film might not be the most compelling watch. In terms of creating a thrilling atmosphere, there is little done. The film feels more like a lighthearted jaunt into the world of consulting detectives than a true dark whodunnit mystery about the violent murderer of a violent murderer. Obviously, comparison to the 2017 remake is somewhat unavoidable, so I will say this: the remake creates a better atmosphere of suspense but does not have nearly the performances of the original.

                Maybe my biggest gripe about the film is that Poirot is presented almost as a comedic character and not necessarily as the powerhouse detective that he really is. Poirot is loud and, honestly, obnoxious for most of the film. Yes, he learns the true nature of the crime committed and its perpetrators, but I never really felt like rooting for such an annoying character to succeed.

So wait, why should you Watch This Film?

                The nature of the mystery and the performances therein keep the film as one that warrants watching. The morality of the murder of a person responsible for the deaths of five others (two of them children) is explored in depth, creating a very interesting moral quandary both for the viewers at home and for Poirot on screen. The moral gray area of the case in the film provides a fun alternative to some of the more typical black and white cases often seen in many procedural mysteries, crime dramas, and cop/detective shows. This is obviously carried over from Christie’s novel and seems to be present throughout much of her writing, presenting victims of murder as almost deserving of their deaths quite often. There is a macabre thrill to such content that makes Murder on the Orient a more interesting watch that some other alternatives.

                Additionally, the performances from Poirot’s suspects/Finney’s supporting cast are strong. It is always fun to watch a movie and ask, “Where have I seen that actor before?” and this film is full of high-caliber talent recognizable from other films. Ingrid Bergman (Casablanca and Spellbound) won an Oscar for her performance as the pious Greta in the film, and it was well-deserved, delivering a tragic and devoted performance. Lauren Bacall (The Big Sleep and To Have and Have Not) holds her own as the equally annoying and powerful presence of Mrs. Hubbard across from Finney’s Poirot. Anthony Perkins (Psycho) again plays a hesitant man with mommy issues but again does it well. I could continue on like this for each member of the supporting cast, but that would take probably another page to do full justice, so just check out the film and its IMDB page if you’re that curious.

                Good supporting performances and compelling ethical questions help elevate Murder on the Orient Express above its annoying protagonist and relatively methodical mystery story. The film’s performances also keep it a few rungs above its 2017 remake and make it worth watching on its own. If you only watch one of the two, I’d encourage you to do the 7-day free trial of Showtime and watch this one.