For The 8th Wonderful Ingrid Bergman Blogathon, I had two movie options for this review; Murder on the Orient Express and Cactus Flower. With both films recommended by this blogathon’s creator (Virginie from The Wonderful World of Cinema), I selected the 1974 mystery picture. Though this is the first time I’ve seen this version of Murder on the Orient Express, this is not the first time I’ve seen any adaptation of this story. Years ago, I saw the 2017 version of Murder on the Orient Express. Though I thought the film was fine, I was not a fan of the movie’s ending. Since then, I have searched for an Agatha Christie adaptation I like. But, as of 2026, the only ones I’ve seen have been either ok or decent. Will this version of Murder on the Orient Express change this pattern? Keep reading my review in order to solve this mystery!
Things I liked about the film:
The distinctness of the characters: On the poster for Murder on the Orient Express, a quote states the movie is “the who’s who in the whodunit!”. This quote is placed in the center of the poster, boasting the ensemble cast working together to carry the story. But the ensemble cast in Murder on the Orient Express portrays a collection of characters with distinct characteristics, personalities, and backstories. While the screenwriting contributes to this strength, the acting performances also deserve praise. The anxious look in Ingrid Bergman’s eyes and the way her face always appears fearful allows her character, Greta Ohlsson, to seem less confident than Lauren Bacall’s character, Mrs. Harriet Belinda Hubbard. The outspoken persona of Harriet helps the audience tell her and Greta apart. Some of the performances not only allowed characters to be memorable, it also allowed actors to work with different material than in other projects they starred in. Anthony Perkins is known to many film fans as Norman Bates in Psycho. The most memorable aspect of that character is the sinister stare he gives the camera (and audience), emphasizing the disturbing persona bubbling under the surface. But in Murder on the Orient Express, he portrays a secretary named Hector McQueen. He sometimes appears unsure of himself, but not to the same degree as Greta. Hector’s personality appears more easy-going, always finding a way to help his boss, Ratchett. His genuine smile and business-like way he carries himself lets the other characters (and the audience) know how seriously he takes his job. Anthony’s performance in Murder on the Orient Express was quite different from his performance in Psycho, showing off how capable he is of effectively portraying a different type of character.
Interior design of the boat: On his way to the titular Orient Express, Hercule Poirot (the protagonist of Murder on the Orient Express) boards a luxurious boat. Despite this boat appearing in only a handful of scenes, the interior design left a strong impression on me because of how gorgeous it was! Railings surrounding the dining space were constructed in what looks like golden metal, the zigzag design giving off the impression of shiny lightning bolts. Gold is also used in other pieces of décor, from giant palm tree lamps to a golden based dish that sat on a table. I recall seeing large red and green gemstones brightly glistening on wall sconces, providing a burst of color to the dining space. Green foliage is strategically placed throughout the set, achieving the illusion of a private oasis on the water. Because the interior design was aesthetically pleasing to the eye, I wish this boat was featured on screen longer in Murder on the Orient Express!
How blue light was used: Lighting is an important component of any film, as film is a visual medium. Not only can it help the audience see what’s happening on screen, it can also be utilized in creative ways, such as to emphasize a specific part of the story. Throughout Murder on the Orient Express, blue light was incorporated into the production. Toward the beginning of the movie, a blue glow covered landscapes, indicating the early morning hours the story is taking place in. Then, when a murder is discovered on the Orient Express, a blue light shines in the room the body was found in. This moment is what sparks Hercule’s investigation, a significant turning point in the script. The interesting ways blue light was woven into Murder on the Orient Express were such memorable creative choices!
What I didn’t like about the film:
Keeping track of who’s who: Because Murder on the Orient Express contains an ensemble cast, they are a larger group of characters for the audience to keep track of. Distinct characteristics, personalities, and backstories certainly help viewers tell these characters apart. But in the case of the 1974 picture, the characters don’t consistently interact with one another. That’s because Hercule is interrogating each character about the story’s mystery. When a character was referenced in another character’s recollection, it took a little while for me to remember which character was being brought up. Some of my focus on the story was taken away due to more time being spent on figuring out who was who.
A dialogue heavy story: In any movie, dialogue plays a key role in the story. When it comes to the mystery genre, dialogue may contain clues, details about potential suspects, and important information relevant to the case. But if a movie, let alone one from the mystery genre, is heavy on the dialogue, it forces the audience to actively pay attention to what is happening on screen. If they don’t, they’ll miss important context, which will lead to frustration and confusion. Murder on the Orient Express is a dialogue heavy story, with the majority of the mystery contained within the dialogue. While there are physical clues woven into the movie, the script’s emphasis rests in the conversations among the characters. The priority placed on the dialogue actually took away some of the story’s sense of urgency. Instead of watching a detective race against the clock to stop a murderer, Murder on the Orient Express shows Hercule taking his time discussing the case with each passenger. This weaker sense of urgency kind of made Murder on the Orient Express feel longer than its two hour and eight-minute run-time.
The ending: For this part of my review, I will spoil Murder on the Orient Express. If you haven’t seen this movie and are planning on watching it, skip ahead to the part of my review titled, “My overall impression”.
At the beginning of Murder on the Orient Express, a collection of newspaper articles and spliced together scenes reveal the kidnapping and murder of a little girl named Daisy Armstrong. Five years later, Hercule discovers a passenger named Ratchett (his real name is Lanfranco Cassetti) was responsible for the kidnapping and murder of Daisy. Hercule learns over the course of the story that Ratchett’s/Lanfranco’s actions created a domino effect of tragedy for those directly connected to the Armstrong family, which happens to be all of the passengers on the Orient Express. Fueled by revenge, each passenger plays a role in murdering Ratchett/Lanfranco. After figuring out the truth, Hercule decides to tell the police a different explanation for how Ratchett/Lanfranco died, claiming this explanation is “simpler”. Following Hercule’s decision, the passengers are shown hugging one another and toasting champagne, with joyous music playing over the scene. I recognize what Murder on the Orient Express was trying to say; actions have consequences. Ratchett/Lanfranco definitely should have faced the consequences for his horrible actions, with his comeuppance emphasizing that message. However, Hercule’s decision to stay quiet about what the passengers did prevents them from facing the consequences of their actions. That creative choice made the film’s message incredibly inconsistent. Plus, the addition of hugging, champagne toasting, and joyous music downplays the severity of the passengers’ actions.
My overall impression:
Have you ever watched an adaptation and felt like you ended up seeing the same movie twice? That’s kind of how I feel about the 1974 version of Murder on the Orient Express. As I stated in this review’s introduction, I had seen the 2017 adaptation prior to checking out the film from 1974. Other than casting and stylistic choices, both presentations follow the same story patterns. They even have an ending I wasn’t a fan of. However, both movies do have their strengths. Specifically speaking about 1974’s Murder on the Orient Express, the acting talents from every cast member, as well as the screenwriting, helped the characters be memorably distinct from one another. The multi-purpose way blue light was incorporated into the film was creative. Even the interior design of a boat Hercule briefly boarded left a beautifully strong impression. But if you’ve seen Murder on the Orient Express from 1974, you’ve already seen the version from 2017, and vice versa.
Overall score: 7 out of 10
Have you seen 1974’s Murder on the Orient Express? What’s your favorite movie from Ingrid Bergman’s filmography? Please let me know in the comment section below!
Have fun at the movies!
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