Actor and director Kenneth Branagh has reinvigorated the murder mystery genre with his acclaimed portrayal of Agatha Christie's renowned character, Hercule Poirot. His 2017 adaptation of Murder on the Orient Express offered a fresh perspective on Christie's most infamous tale, and the 2022 sequel, based on Death on the Nile, continued the success. It's no surprise that a third film in the Poirot series has been expedited. After recently reading the book Hallowe'en Party, the inspiration for the newest film, I was eager to see how Branagh would approach this story, which is notably less cinematic in nature.
Essentially, A Haunting in Venice can be viewed more as a movie "inspired by" Christie's writing than a faithful adaptation. The film retains little more than character names and a supernatural element from the novel it claims to be based on. Surprisingly, these liberties don't cause much concern, especially considering that Hallowe'en Party is a rather ordinary entry in Christie's repertoire. As one of her final works featuring her beloved protagonist, it fell short compared to some of her more celebrated pieces. Instead, Branagh and his team opt to place the film in the mysterious setting of Venice, a city that inherently lends itself to the grandeur and marvel suitable for the cinematic experience.
At the film's outset, Hercule Poirot, portrayed by the director Kenneth Branagh, relishes a tranquil retirement, channeling his sharp mind into pursuing the perfect breakfast eggs rather than solving murder mysteries. Despite persistent requests from those seeking his investigative prowess, he remains uninterested. The serenity of a quiet life suits him well. This changes, however, when he agrees to meet with Ariadne Oliver, an old friend and crime novelist played by the always-charming Tina Fey. Although no stranger to unraveling deceptions, she is confounded by Joyce Reynolds (Michelle Yeoh), a World War I army nurse turned medium. Motivated by curiosity or perhaps sheer pride, Poirot consents to attend a Halloween party and séance at the palazzo of the renowned opera singer Rowena Drake. What initially begins as an attempt to expose a charlatan swiftly transforms into a night of darkness and death. Once again, Poirot must deploy his intellect and deduction to unveil the identity of a ruthless killer before becoming their next victim.
A Haunting in Venice marks a significant departure from both its predecessors and the source material. While it differs significantly, the change proves beneficial. The music takes on a more subdued tone, and the cinematography adopts an angled and choppy approach, a departure from the sweeping visuals seen in other films. Introducing a potentially supernatural element adds a layer of dread and suspense, contributing to a unique atmosphere that works exceptionally well. The film sustains a tension akin to razor wire throughout, making every moment count. The ensemble cast delivers performances filled with vigor, eliciting both support and suspicion from the audience. Despite its variance from the book, the film adeptly balances horror and mystery, offering a murder story that pays homage to Agatha Christie's tradition while adapting it for contemporary audiences.
