Luke, your interest in the "art deco" revival in several of your pieces, prompts me to recall that the term "art deco" was only coined in the last years of the 60's ( I believe the term was first used in print in c 1968 I the Times?)
Once the period had a name and an identifiable set of defining elements, it suddenly became ripe for pillaging.
We must have been youngsters, but I recall a profusion of 20's styled shops, fast food outlets and films which mined a very recent past for visual themes.
Weirdly wéve been working on a story about Istanbul featuring the Pera Palace hotel, which was specially built to house Orient Express travellers in the luxury they'd come to expect at the end of their train journey. Agatha Christie penned 'Murder on the OE' in room 411
I too prefer these earlier versions to the current crop which seem to have the fingerprints of Hollywood “suits” all over them demanding “bigger,better, more explosions”
What a glorious cavalcade this is. I entirely agree with your assessment.
This must be the greatest film interpretation of any Agatha Christie book because it so completely satisfies the viewer's need for glamour, with a stunning on-form cast plus, sets, costumes and music, whilst simultaneously delivering a very nasty tale with a protracted (alleged/ probable) murder; plus an ugly backstory.
Albert Finney is probably the nearest we've ever got to Ms Christie's Poirot (with David Suchet second perhaps?).
My favourite Christie film remains Evil Under the Sun, and I love Peter Ustinov as Poirot, but Orient Express wins from every objective angle. And, like you, I've no idea why Keneth Branagh even tried in 2017.
Hey, I think this Orient Express is such a well put together movie, and so well-acted with, for me, Bergman prima inter pares (and how pitch perfect are your descriptions of both Redgrave and Robert’s).
What I remember clearly is that gorgeous opening shot ... need to see it again (although it's a lot better on a movie screen!). Dame Agatha's spare prose, oh yes... I'm rereading her and I appreciate the modernity of her style a lot more than when I discovered her as a kid.
When I ride woefully underfunded American Amtrak trains, Sir Rodney's soundtrack gives me consolation. Is that a soft focus view? no, it's a grimy window.
No. Because I don’t think it’s badly made. In fact, quite the the opposite. The cinematography received an Oscar nomination. Lumet shot the thing inside real carriages- again, quite a feat from a the production side of things. The acting? Yes, melodramatic, definitely. But that’s all part of the fun- ‘cos hey! It’s Agatha Christie. The plot ain’t exactly realistic, is it?
It’s a 1970s movie — post Kubrick, post Godard, post Coppola — that’s made like a 1950s movie. Lumet could do modern 1970s cinema (Serpico; Dog Day Afternoon) but in this case he completely refused. But if you like this kind of “fun,” by all means, enjoy it; you’re certainly not alone.
Exactly. That’s the point. He was deliberately making a film which looked like a throwback- I write about this in my post. It’s a deliberate 70s take on the 30s. Which makes it interesting- and stylish- at least from my point of view. This was high fashion in 1974. I’m often writing about films in their historical and social contexts. That’s one of the points about WEEKEND FLICKS. Hopefully it’s more than a standard review. And I’m a great believer in films having that ‘certain something’ even if they’re not perfect from a film buff’s point of view. That, at least, is the goal.
Yeah, we’re never going to agree on this, if I want a 70s take on the 30s I’ll watch Chinatown, which is made in a way that comports with the cinematic expertise and stylistic and aesthetic idiom of the time — or Star Wars, same remarks, which is a 1930s serial made by people who know how to make modern movies that are elevated to the technical standards of the day. I don’t like pastiche; I don’t like “slumming” and I don’t find deliberate ineptitude funny, charming or “ironic” — but those are my tastes. Anyway, interesting stuff…thanks for the discussion. And I do like your work.
Great write-up Luke, as per normal. I'm rather haunted by 'a Teutonic sparkling wine made in the United States'.
As am I re pouff’s pudding.
Luke, your interest in the "art deco" revival in several of your pieces, prompts me to recall that the term "art deco" was only coined in the last years of the 60's ( I believe the term was first used in print in c 1968 I the Times?)
Once the period had a name and an identifiable set of defining elements, it suddenly became ripe for pillaging.
We must have been youngsters, but I recall a profusion of 20's styled shops, fast food outlets and films which mined a very recent past for visual themes.
There you go! Exactly. Great point.
Great stuff, Luke!
Weirdly wéve been working on a story about Istanbul featuring the Pera Palace hotel, which was specially built to house Orient Express travellers in the luxury they'd come to expect at the end of their train journey. Agatha Christie penned 'Murder on the OE' in room 411
But did she? I have a feeling… the lack of evidence?
Teehee!
It is definitely one of the best Agatha Christie´s adaptations, stellar cast.
I too prefer these earlier versions to the current crop which seem to have the fingerprints of Hollywood “suits” all over them demanding “bigger,better, more explosions”
What a glorious cavalcade this is. I entirely agree with your assessment.
This must be the greatest film interpretation of any Agatha Christie book because it so completely satisfies the viewer's need for glamour, with a stunning on-form cast plus, sets, costumes and music, whilst simultaneously delivering a very nasty tale with a protracted (alleged/ probable) murder; plus an ugly backstory.
Albert Finney is probably the nearest we've ever got to Ms Christie's Poirot (with David Suchet second perhaps?).
My favourite Christie film remains Evil Under the Sun, and I love Peter Ustinov as Poirot, but Orient Express wins from every objective angle. And, like you, I've no idea why Keneth Branagh even tried in 2017.
Hey, I think this Orient Express is such a well put together movie, and so well-acted with, for me, Bergman prima inter pares (and how pitch perfect are your descriptions of both Redgrave and Robert’s).
Thank you!
The 1930s are my favourite historical period of the 20th century, so I've always loved this film. Great piece!
What I remember clearly is that gorgeous opening shot ... need to see it again (although it's a lot better on a movie screen!). Dame Agatha's spare prose, oh yes... I'm rereading her and I appreciate the modernity of her style a lot more than when I discovered her as a kid.
When I ride woefully underfunded American Amtrak trains, Sir Rodney's soundtrack gives me consolation. Is that a soft focus view? no, it's a grimy window.
It doesn’t bother you that it’s so badly made? The acting is all so melodramatic and it’s shot like television.
No. Because I don’t think it’s badly made. In fact, quite the the opposite. The cinematography received an Oscar nomination. Lumet shot the thing inside real carriages- again, quite a feat from a the production side of things. The acting? Yes, melodramatic, definitely. But that’s all part of the fun- ‘cos hey! It’s Agatha Christie. The plot ain’t exactly realistic, is it?
It’s a 1970s movie — post Kubrick, post Godard, post Coppola — that’s made like a 1950s movie. Lumet could do modern 1970s cinema (Serpico; Dog Day Afternoon) but in this case he completely refused. But if you like this kind of “fun,” by all means, enjoy it; you’re certainly not alone.
Exactly. That’s the point. He was deliberately making a film which looked like a throwback- I write about this in my post. It’s a deliberate 70s take on the 30s. Which makes it interesting- and stylish- at least from my point of view. This was high fashion in 1974. I’m often writing about films in their historical and social contexts. That’s one of the points about WEEKEND FLICKS. Hopefully it’s more than a standard review. And I’m a great believer in films having that ‘certain something’ even if they’re not perfect from a film buff’s point of view. That, at least, is the goal.
Yeah, we’re never going to agree on this, if I want a 70s take on the 30s I’ll watch Chinatown, which is made in a way that comports with the cinematic expertise and stylistic and aesthetic idiom of the time — or Star Wars, same remarks, which is a 1930s serial made by people who know how to make modern movies that are elevated to the technical standards of the day. I don’t like pastiche; I don’t like “slumming” and I don’t find deliberate ineptitude funny, charming or “ironic” — but those are my tastes. Anyway, interesting stuff…thanks for the discussion. And I do like your work.