As for the fact that we all know who the murderer is and who should buy a ticket to go to the cinema to see the shy belly old man with a mustache shaking and catching the murderer smartly, I think the best explanation is undoubtedly the charm of grandma's work itself, grandma made the original answer the most A captivating detective story becomes the process more important than the result. I remember a story about detective novels on the Internet. Circle the murderer on the detective comics that others have not read and mark this person as the murderer. It is a lore for people who read comics. Knowing the rest of the mystery This manga has become a waste of paper. But a work like Murder on the Orient Express, even with "Polo Witches the Twelve Killers" on the movie poster, doesn't dampen any of your expectations. A good detective novel can jump out of the constraints of the detective theme and become an outstanding literary work. This is applicable in many fields of art. For example, many singers will cover the same classic old song, and many painters will express the same. A classic old theme, because it can be called a classic because the content itself is good enough, so if you are a good artist who can master the classics, you can also taste your own taste when chewing the steamed buns that others have chewed. When a great story, a great director, and a great actor are combined into one, what should attract us is a new chemistry, a recipe that can't go wrong, what would it be like to cook for another person? The person who created the recipe is good enough, but the writer and the director are both artists. If you just do 100% restoration without your own understanding and polish, there is no essential difference between plagiarism and plagiarism. As an audience, I might as well open the novel and read it again. After revisiting the original work, being able to add new ingredients to the recipe or boldly use your own cooking methods is what people who are looking forward to cooking have expectations for each version of the adaptation.
The possibility of Kenneth's own expression of this story that everyone is familiar with and looking forward to is beyond my imagination, and the emotional pull of the surprises brought about by the changes makes up for some of the loss of knowing the answer beforehand. After all, a movie is a kind of team work. For the remake of a classic movie, what we expect is not only the director, but also the actors. The challenges faced by the actors in this movie are not only the characters themselves, but the answer to the mystery is clear to the public. In this case, it is not easy to rely on acting to mobilize the audience's emotions. But what is more difficult is how to surpass the classics. After all, the previous version is full of superstars, and it is the kind of superstar that has become immortal. After watching the movie, I feel that no one is dancing, and no one is particularly abrupt. This may be the best state for remakes of classics. In a harmonious picture of all beings, everyone has completed their own interpretations very well, superstars or first tasters. The newcomers to the screen all perfectly match the characters and have not been weakened by other characters. This is undoubtedly a balance that this detective story multi-character setting seeks to pursue.
This version of Polo can be said to be the least like Polo of all the versions. I was very uncomfortable when I first watched it, because it paid homage to the period theme story that I decided to go to the theater at the beginning. The detectives in the works are ranked, there are two, Polo and Sherlock Holmes. The most gorgeous and atmospheric detective novel is undoubtedly "Murder on the Orient Express". The adaptation of this version of New Oriental is more like the integration of the two greatest detectives into one greatest story, even if it is quite different from the original. I have to say that it is also a unique tribute. After all, the name of the movie is "Murder on the Orient Express", not "Detective Polo". In the classic plot, I saw a bold adaptation of the combination of two classic characters, accepting or not accepting brings The impact of the brain hole is very surprising.
I personally like the setting of some details in the film, not to mention the long shots that everyone has noticed, in fact, what I like most about the whole film is the fact that the train was forced to stop on a wooden bridge by an avalanche. Not so much the last supper at the end is very stage-like, this setting has more dramatic tension. Before the lives of the twelve murderers intertwined with the murderer of the Armstrong incident, they were like this luxurious train going on the right track. , bright and full of energy. But the appearance of the murderer was like a sudden avalanche that derailed the train, and everyone's originally beautiful life came to a standstill at that moment, and everyone's soul became riddled with holes. The train stopped on a wooden bridge made of horizontal and vertical wood, where the murder took place, where everyone's life is intertwined again, where countless loopholes and lies have compiled a case that is strange no matter how you look at it, and it is placed in the big detective. before. The bridge under the car is full of loopholes, the twelve riddled souls in the car and the story full of loopholes in the car together support the picture, I have to say that the setting of the scene is perfect. In addition, for each person's interrogation, scenes that fit well with each person's identity and characters are selected, which makes the look and feel very pleasant. For example, the British female teacher was interrogated in the snow outside the train, and the Russian princess was interrogated in the extravagant carriage.
There is also a scene that I personally think is very symbolic, when Poirot just announced the death of the merchant and said that he would interrogate everyone next. A lens is swept horizontally, and everyone who is swept by the lens has two faces due to the refraction of the mirror, indicating that everyone sitting here has two identities. Similar to the technique used here is the black-and-white film about the murder of the businessman. Shooting upwards makes everyone's face project on the lens in the most hideous way, and the ceiling shows everyone's shadow that is more hideous than the face. This scene is the whole film. My favorite scene in the movie. The old version was more conservative in the handling of this plot. Everyone lined up and stabbed one by one. I personally think that the new version is more in line with the situation at that time. Everyone dragged their own long Shadow seems to drag himself into a dark second life. Another thing that I personally think is very clever is that when the deceased was just discovered, the director adopted the perspective of God, which greatly improved the drama of the whole movie, but what I want to say here is that the door has never been opened to let the audience in. Seeing the deceased as well, this is a good way to whet your appetite, as if you all knew that he was stabbed to death by twelve stabs anyway, and the audience eagerly craned their necks and waited to see Depp who died tragically. Of course, every scene is set like obsessive-compulsive disorder. There is one thing that I don't like very much, that is, the night of the deceased's death, I gave Polo, who was going to sleep, a lot of close-ups. The night he just got on the train, he slept with a mustache. I didn't wear it overnight. This kind of negligence made a movie with such a strong sense of obsessive-compulsive disorder a little uncomfortable.
As a black actor, the doctor in New Oriental is mentioned many times in the film. The identity of the specificity of the era, this kind of small details that symbolize the type of identity also appear in the case at the beginning of the film. The officer who can wear boots and the policeman disguised as a professor The Jewish topics mentioned, etc., I also quite like these small details. From the casual dialogue of the characters, integrating a story enclosed in a train into the background of the times will give people a more macroscopic impression, making people feel that they are not just watching A murder in a train, but it feels like watching a murder in that society in that era.
Many people think that the scene of the Last Judgment is too contrived to turn into the last supper scene. , its tone is this kind of contrived, if you don't make a most deliberate climax at the end, the setting of the stage drama will be tepid, and the characteristics will be lost more than half. Every scene in the front is like an oil painting, and the last one is obviously to set the tone thoroughly.
I won't analyze the most exciting ending of this case here. Everyone knows that this story can be passed down through the ages is to create a face-to-face collision between law and love. The classic setting didn't make any moths, but one thing I like more than the old version is that Polo didn't directly give everyone a close-up of the crowd after announcing the result, no cheers, no sighs, only Polo turned and left. The train gradually went away and swept the faces of everyone standing at the window one by one, just like everyone appeared alone, and it was like a stage play for everyone, and Polo finally decided to help everyone remove the accumulation that blocked everyone's life. Xue, the life of twelve people re-started the track and drove into the distance.
In short, we revisited Grandma's great works again, and also saw another possibility of "Murder on the Orient Express".
Ps. The film 2D is so comfortable, but fortunately it is not a low 3D with a high price to find guilt, let the picture be distracted instead of thinking about the poor experience and pay the audience's pocket for more 2D movies~
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