This works in the favor of the filmmakers and the screenplay writer, Michael Green. They introduce horror and supernatural elements to the franchise to change things up. They move the story from the English countryside of the 1969 source material to the more picturesque and colorfully sinister post-war Venice, and they have fun introducing diversity and inclusivity into the casting - Hello, Michelle Yeoh and Tina Fey.
So, as it turns out, Poirot is brought in to unravel two mysteries - who is behind this woman's death, and secondly, what was the murder she had witnessed that has her being dealt with so many years after the fact. The formula of the Christie mysteries remains intact: a slew of suspects, a multiplicity of motives and deep secrets, and our genius detective having to do all the unraveling and taking us on this vicarious ride.
When the Christie novel was published in 1969, scathing reviews came out, saying that late in her writing career, Christie was better off leaving us the memory of her earlier Poirot and Marple mysteries and her stage play, The Mousetrap. Christie passed away soon after, in 1976.Now, I’ve not read the novel, but if you ask me based on this film adaptation, I’d say this mystery needed more than a mere relocation. All seems to fall too neatly in place when it’s time to make the Poirot ‘reveal.
Maybe we like things to be spelled out at the end, but this one doesn’t give us a fair enough chance to figure it out along with Poirot. So I can’t appreciate how this franchise will continue after the D.O.A. of Nile and this tepid Haunting. But then again, Branagh seems to be living a charmed Hollywood life as Poirot.
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