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What was the last film you watched?
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<blockquote data-quote="Willie Oleson" data-source="post: 347460" data-attributes="member: 8"><p>[ATTACH=full]42041[/ATTACH]</p><p></p><p>This is a very, very good film, but as a theatrical release it seems less accessible and entertaining than <em>Death On The Nile</em>.</p><p>The non-stop motion of the train in <em>The Cassandra Crossing</em> underlined the feeling of heading for disaster, running out of time and - most importantly - a very claustrophobic astmosphere.</p><p>The Orient Express merely serves as a meeting place and the sets look a bit crammed in that knees-and-elbows kind of way. It's only in Poirot's big reveal that we learn why that meeting was so important.</p><p></p><p>I didn't remember much of this film except that David Niven was in it, and he wasn't. I have watched the remake a few years (?) ago but apparently it hasn't made much of an impression.</p><p>Nevertheless, it isn't very difficult to connect the future murder victim with the Armstrong tragedy, and because it's an execution rather than a wicked murder - regardless of who killed Ratchett - the <em>who-are-these-characters</em> becomes more intriguing than the whodunnit itself.</p><p>And indeed, instead of lying about their whereabouts at this or that particular time, they're all trying very hard not to be connected with the Armstrongs.</p><p>It's such a brilliant story and watching the film almost feels like reading a book. Therefore I agree with [USER=5079]@Crimson[/USER] that it's probably the best of the Big Four (including <em>The Mirror Crack'd</em> ).</p><p></p><p>Personally I think Albert Finney's Poirot worked better for this particular setting. If it had been Peter Ustinov then I had expected him to leave the train at some point.</p><p>Finney's uncomfortable pose, waddling like Batman's Penguin, tells me that the character doesn't want a lot of exercise.</p><p>His voice does get a bit raspy sometimes, I wonder if it had anything to do with faking a continental European accent.</p><p>Jacqueline Bisset doesn't get an awful lot to speak and yet her fake accent is the most glaring. She's very watchable but I think Romy Schneider would have been a more suitable casting choice.</p><p>Most of the actors get their moment to shine and Ingrid Bergman and Anthony Perkins shone the best. Only Vanessa Redgrave seems a little bit underused but that also puts the stunt in stunt casting.</p><p>Wendy Hiller as Princess Dragomiroff is fabulous horror show.</p><p></p><p>The ending is a bit ambiguous but in the best way possible. On the one hand there's a group of people successfully dealing with their craving for justice, on the other hand - if the situation had been slightly different - they come across as a murderous cult, champagne toasts and benign smiles included.</p></blockquote><p></p>
[QUOTE="Willie Oleson, post: 347460, member: 8"] [ATTACH type="full"]42041[/ATTACH] This is a very, very good film, but as a theatrical release it seems less accessible and entertaining than [I]Death On The Nile[/I]. The non-stop motion of the train in [I]The Cassandra Crossing[/I] underlined the feeling of heading for disaster, running out of time and - most importantly - a very claustrophobic astmosphere. The Orient Express merely serves as a meeting place and the sets look a bit crammed in that knees-and-elbows kind of way. It's only in Poirot's big reveal that we learn why that meeting was so important. I didn't remember much of this film except that David Niven was in it, and he wasn't. I have watched the remake a few years (?) ago but apparently it hasn't made much of an impression. Nevertheless, it isn't very difficult to connect the future murder victim with the Armstrong tragedy, and because it's an execution rather than a wicked murder - regardless of who killed Ratchett - the [I]who-are-these-characters[/I] becomes more intriguing than the whodunnit itself. And indeed, instead of lying about their whereabouts at this or that particular time, they're all trying very hard not to be connected with the Armstrongs. It's such a brilliant story and watching the film almost feels like reading a book. Therefore I agree with [USER=5079]@Crimson[/USER] that it's probably the best of the Big Four (including [I]The Mirror Crack'd[/I] ). Personally I think Albert Finney's Poirot worked better for this particular setting. If it had been Peter Ustinov then I had expected him to leave the train at some point. Finney's uncomfortable pose, waddling like Batman's Penguin, tells me that the character doesn't want a lot of exercise. His voice does get a bit raspy sometimes, I wonder if it had anything to do with faking a continental European accent. Jacqueline Bisset doesn't get an awful lot to speak and yet her fake accent is the most glaring. She's very watchable but I think Romy Schneider would have been a more suitable casting choice. Most of the actors get their moment to shine and Ingrid Bergman and Anthony Perkins shone the best. Only Vanessa Redgrave seems a little bit underused but that also puts the stunt in stunt casting. Wendy Hiller as Princess Dragomiroff is fabulous horror show. The ending is a bit ambiguous but in the best way possible. On the one hand there's a group of people successfully dealing with their craving for justice, on the other hand - if the situation had been slightly different - they come across as a murderous cult, champagne toasts and benign smiles included. [/QUOTE]
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