Mystery in Venice this is a new adaptation of the novels Christy Agatha, eminent master of secrets. His texts filled hours of cinema and television. Over the past five years, Kenneth Branagh He was responsible for bringing his stories to the big screen. The director also plays the famed detective Hercule Poirot. The new film, which will premiere on September 15, is the third part of the franchise. To reinvent himself, this time he brings a radical twist to terror. At the same time, he manages to save more than enough furniture, but it still does not reach perfection.
After Murder on the Orange Express and from Death on the Nile, Branagh now I dare to tell a slightly lesser-known story. On this occasion, the director adapts the novel “Apples”, written by Christine in 1969. But, unlike previous installments, where he mostly stuck to the source material, with Death in Venice significant changes have been made. The most obvious, of course, is its new and attractive location.
In movie A Poirot Having retired, he lives in a beautiful city with endless canals in the post-war period. There he receives countless opinions from citizens seeking to resolve their cases, but he always ignores them. One day his writer friend comes to visit him. In the past, he accompanied the detective on some of his investigations, wrote books about them and made him famous. This time she is the one who comes up with a plan. On Halloween Eve, he invites him to go to a seance in a Venetian palace. In it, a young woman died some time ago under strange circumstances, and the medium presiding over the event wants to contact her soul. However, everything goes wrong, forcing Poirot play the role of detective again.
Mystery in Venice entertains without surprising
In two previous films Branagh not only tried to stick to the texts Christine, but followed the basic cinematic rules of a detective series. Someone has been murdered and the case needs to be solved. In outline, Mystery in Venice It follows the same structure, although it subverts it slightly. The narrative is no longer so linear, but cut into layers like an onion (albeit with much less grace than in Glass bow from Rian Johnson). A session is proposed that needs to be exposed. This gives way to an investigation into an old death, but since Poirot As his investigation progresses, new misfortunes are revealed. There comes a time when the original purpose of the case is completely forgotten in favor of new circumstances.
This structure, so traditional for the most complex detective stories, would work very well if not for the fact that everything happens too quickly. The clues are not laid out calmly. Everything happens suddenly, there is no time to build theories and summarize, because something else is already happening on the screen. And so, instead of leading the viewer by the hand, while Poirot Find the key Mystery in Venice it pushes us away. This is undoubtedly an entertaining and enjoyable story, but not a very thought-provoking one. The script isn’t as good as it should be, in addition to being oddly predictable for a franchise that, if there’s one thing that’s been outstanding, is that its results have been a definite surprise. The new film is not boring, but it is difficult to leave an impression.
Venice, paradise of horror
What feels good Mystery in Venice This is his leap into terror. Branagh He wanted to try his luck in genre cinema, and the result was a very successful metamorphosis. It’s not particularly innovative anyway. Plays of light, shadow and lens distortion are common in this type of film. And the use of spirits, ghostly mythology and their juxtaposition with rational logic is already too hackneyed not to provide any distinctive note. Everything is traditional. But it works, always in the right tone, and that’s the main thing. Branagh It used to be a lot clearer, but at least the movie always stays on point. It is effective and provides the necessary anxiety that makes your hair stand on end when needed.
There is no better place in the world to accomplish such a feat than Venice, a city that is as incredibly beautiful as it is terribly unstable. The over-the-top and artificial CGI of the previous two films now gives way to a very elegant, fatalistic stylization. Pale white masks shine lonely in the darkness of the night. Sharp gondolas cut a screen through the waters of narrow channels. Heavy rain soaked the walls of the old Renaissance palace. Venice has a unique ghostly aura. It’s a shame that 80% of the film takes place inside the mansion. But the Gothic atmosphere permeates everything more than noticeably, making Mystery in Venice earn a lot of points.
Aim higher
In any case, the main problem Mystery in Venice Still, it doesn’t aim as high as it should, like in previous films. On an artistic level, the budget is spent much better than before, but it is limping on its previous legs. It has a luxurious cast with artists of the level Michelle Yeoh, Jamie Dornan, Tina Fey or his own Branagh. But no matter how eccentric their roles are, they all operate on autopilot. The sensation once again resembles a collection of stickers rather than a cast chosen for fame.
By the address, Branagh It’s also no risk. It does not print a distinctive seal. Despite being his project, the film lacks a morbid personality. I insist: it’s not that it’s necessary, because it’s robust enough to stimulate and engage. But there was more that could be done with the ingredients. Did he deserve another extension for his fourth adventure? Poirot? Apparently, yes. But he’s not competing in the league he should be.
Definitely, Mystery in Venice manages to achieve the set goals. It’s interesting, it’s light, and its refreshing transition into horror is scary. But it suffers from some conventions that are starting to take their toll on a franchise that, three films later, still hasn’t taken off. Not bad, but there was potential for much more.
Source: Hiper Textual
