The new version of Murder on the Orient Express starts in Jerusalem, the past few versions are from Istanbul - the concept of "Oriental" has changed. Modern issues such as racial and religious diversity also arise, but it is the British aristocrats with public school accents who tell Americans that, like many parts of the film, there is the usual scornful attitude of the British.
Modern audiences are no longer satisfied with imagining the Orient in luxury trains, and filming technology has advanced by leaps and bounds, resulting in magnificent exteriors and fight scenes. But the biggest difference is that in the past several British versions, including the Japanese version, it was considered a metaphor for different classes to meet on the Orient Express. Because World War II is imminent, the train is heading for the future, and the old world is no more. The upper-class family in the United States is the shadow of the future; this time, I didn't mean it, I only talked about the excitement and adventure of the train, maybe the class and the old world were the talk of yesterday. But in the past, we talked about the meaning of twelve murderers = twelve jury. This time, let them come out and sit in the bridge hole and take the posture of the twelve disciples in the Last Supper, which may be "God's justice in human law" outside” dramatization.
But in the old version, the officer shot himself in front of Poirot, causing him to doubt the law and reason. The new version lacks this heaviness and weakens the power of the story's final verdict—and the shock of Poirot's final suicide. Johnny Depp played a bit hard. The implantation of Godiva is too obvious. Although it was indeed created in the 1920s and the original story was written in the 1930s, it did not become popular outside Belgium until after World War II...
There is also the Earl and his wife, the most disappointing point is this, adapted into a violent Yugoslav dancer, a little rash, and a little stereotyping... The new version of the mother is the planner, and it is unreasonable to accuse her of life already over, because her youngest daughter is clearly there superior. In the past few versions, His Royal Highness stood up and said that my era has passed anyway, which is shocking enough; the emotional power of the new adaptation is strong, Michelle Pfeiffer played it well, but the closing line can be more delicate.
Parents can memorize the lines of several Agatha Christie films in the studio, and it is very meaningful to watch the movie with them before leaving, which is always satisfying and somewhat gratifying.
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