Murder On The Orient Express And Death On The Nile Were Huge Poirot Titles. I Asked The Creative Team Why They Wanted To Make Something So Different Like A Haunting In Venice Next
How Kenneth Branagh's latest presented a fresh opportunity.
As A Haunting in Venice continues to introduce the world to a new interpretation of Agatha Christie’s work, the third Hercule Poirot film from director Kenneth Branagh is sure to surprise loyal readers. Taking the source novel Hallowe’en Party and turning it into a vastly different mystery from what was contained in its pages, this 2023 movie release is a surprise after adaptations of more familiar books like Murder on the Orient Express and Death on the Nile.
For the creative team behind Venice, this opportunity represented an uncharted frontier. That excitement was reflected by several participants I spoke with for 20th Century Studios’ press day for the movie. Starting with Agatha Christie’s great-grandson, and CEO of her estate, James Pritchard shared this outlook on the new spin on Hercule Poirot’s case files with CinemaBlend:
As Pritchard approved of changes to the source, the setting and tone of A Haunting in Venice were allowed to be shaped to the vision of the team he’s trusted since the beginning. With that change in approach also came a shift in the creative team that signed on to make Poirot’s latest adventure into something truly unique.
One such party was 2020 Academy Award winner and composer Hildur Guðnadóttir, who stepped in to provide Venice’s score. After two films saw frequent Branagh collaborator Patrick Doyle serving those duties, this fresh take gave the composer behind Joker and Tár the chance to engage with the world of Hercule Poirot.
Speaking with CinemaBlend, here’s how Hildur saw A Haunting in Venice’s departure from tradition:
Hildur Guðnadóttir has a particular interest in the adaptation of Agatha Christie’s works, though her viewpoint comes from that of a near and dear fan. Sharing a love of Christie and her novels with her mother, Guðnadóttir seemed just as pleased with how A Haunting in Venice adapted the original as James Pritchard was.
Once again, the novelty of innovation wins out, which just might point to why this Haunting’s critical acclaim stands as a sign that something went dreadfully right. In the final testimonial gathered during this day of discussion, I spoke with returning cinematographer Haris Zambarloukos, the man who shot both Murder on the Orient Express as well as Death on the Nile.
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Another loyal member of Team Poirot's initial roster, Zambarloukos’ highlighted the fact that filming Haunting with digital cameras made for a healthy switch-up this time around. Rather than the celluloid medium used for the previous films, the opportunity to shoot in low-light environments with the same lenses used for Ben Hur marked how Haris diverged in his work for this new picture.
That choice definitely mirrors his thoughts on the freshness of A Haunting in Venice, which he shared with CinemaBlend in the following context:
No matter who you speak to in the crew of A Haunting in Venice, the same sort of happiness seems to present itself. With what feels like a brand new Agatha Christie mystery arriving in the world, all involved are quite proud of how they contributed to this fresh take on a classic sleuth. Should this case be as much of a windfall for 20th Century Studios as the previous two seemed to be, then perhaps there's more room for even the most obscure case file to become a fresh hell for Hercule Poirot's powers of deduction.
Aficionados of Hercule Poirot's exploits are about to be blessed in the month of October. As A Haunting in Venice continues its box office run, Death on the Nile is still available for streaming through the use of a Hulu subscription. But for those of you who are up on everything new on Hulu, you're probably counting down the days until Murder on the Orient Express joins the library yet again.
Happy haunting, mystery buffs; and don't forget the "chocky chocky" pastries before you settle in. Hercule wouldn't want you to watch without some sort of sweetness to offset the darkness in the hearts of his suspects.
Mike Reyes is the Senior Movie Contributor at CinemaBlend, though that title’s more of a guideline really. Passionate about entertainment since grade school, the movies have always held a special place in his life, which explains his current occupation. Mike graduated from Drew University with a Bachelor’s Degree in Political Science, but swore off of running for public office a long time ago. Mike's expertise ranges from James Bond to everything Alita, making for a brilliantly eclectic resume. He fights for the user.