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*the author realizes after completing the review that the film has already been discussed on Deb. However, he hopes that the questions raised can lead to stimulating debates.
After the umpteenth viewing of Murder on the Orient Express, a reflection is mandatory. Looking through the parade of characters that form the cast of an icon of detective cinema, the reasons why most modern filmmaking is experiencing a state of unfortunate recession become increasingly clear. It would be quite impossible today to assemble a group of professionals of such stature as Sidney Lumet directing, Albert Finney, Lauren Bacall, Ingrid Bergman, Anthony Perkins, Sean Connery, Vanessa Redgrave, Richard Widmark, Michael York, Jacqueline Bisset, Martin Balsam in the acting roles. The reasons I believe such a powerful alchemy as the one that in 1974 gave life to this manifesto of superb ensemble performance is fundamentally two:
-1) the exorbitant fees of the most prominent actors (but not necessarily more valid ones). No production today would take the risk of hiring them without the certainty of a substantial box office return. I would also add that Robert Altman, the only director capable of attracting great actors in exchange for symbolic fees, is no longer with us. This therefore excludes also engagement for "the prestige of being directed by ..." (besides wanting to be emblematic of who stands above and who stands below among more or less renowned directors)
-2) the second and more important reason is the following: which actors today are capable of matching the performances of Albert Finney, of Lauren Bacall, of Ingrid Bergman, to name a few? Who can be put on the same level today?
In the era of actors from "Martini? there's a party!" one should not be surprised if the best that can be achieved in the ensemble genre are diluted sketches a la Oceans Eleven. Consider, for example, just the fact that a highly regarded Sean Connery fades when compared to Anthony Perkins, who, in this specific case, was capable of such a stunning supporting performance (superb mimicry, excellent timing), that only the seasoned professionalism of the protagonists (acting peaks hard to reach in the trio Finney-Bergman-Bacall) could surpass it.
It is now a well-established fact that in the Great Modern Cinema, whether it is a thriller or drama, the very expensive vehicles are now pulled by one or at most two thoroughbreds. And for them, the task is almost always difficult as around these great ones there is, more than ever, emptiness. Sacred monsters surrounded by VJs or overly surgically enhanced actresses. Sitcom actors unable to hold a long take for more than thirty seconds, and so on. In Murder on the Orient Express, the supporting actors are called Vanessa Redgrave, Martin Balsam, Michael York. And I hope I made my point clear!
It is truly a pleasure for the eyes and ears, therefore, to participate in the intricate plot of one of the most thrilling detective stories, basking in the mastery of timeless actors. There is one scene in particular that stands out as a focal example in representing the Art of Acting tout court. I am referring to the final one, when, with the mystery solved, all the characters parade to the sound of a magnificent soundtrack (R.R. Bennett). No dialogue, only synergies. The moment when the gaze exchange between Ingrid Bergman and Lauren Bacall occurs is of an intensity that will be difficult to reproduce (I can only recall the Foster-Hopkins connection in The Silence of the Lambs). Just like the individual interrogations conducted by the egg-headed detective Hercule Poirot seem like elegant duels between excellent swordsmen.
As the genre requires, one does not want to reveal too much of this very exciting film. In any case, when there is the pen of Agatha Christie and the camera of Lumet behind it, it is difficult to be disappointed. In conclusion, I recommend this film to lovers of the genre and to anyone who is confused about what acting means and how an inspired performance score is constructed.
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