5 films based on the works of Agatha Christie to find out if you liked The Mystery in Venice

Ribbon Mystery in Veniceit’s much more than just an adaptation of a book Apples Agatha Christie, published in 1969. It is also the third installment in a seemingly nascent franchise based on the works of the author, led by Briton Kenneth Branagh. Ingenious in the way it presents its mystery, with the visuals highlighting the claustrophobic alleys and huge abandoned houses of the main city. improves the quality of its predecessor.

The latest version of the Englishwoman’s work is more horror than suspense, and shows that her legacy is fireproof. Moreover, this is, in all likelihood, one of the most prolific literary collections to hit the world of cinema. Since Hollywood’s golden age, the author’s elegant and often surprising mysteries have been brought to the big screen by top directors. At the same time, they are part of a way of storytelling that uses the character’s privileged intelligence to construct and create new stories.Challenging mysteries that challenge the audience’s imagination..

For this reason, we leave you with five of the best Agatha Christie adaptations to celebrate the film’s premiere. Mystery in Venice. Whether or not you’re a fan of the writer’s short stories, this subgenre itself will intrigue you and pique your curiosity. Perhaps this is why it continues to be one of the favorites of suspense film lovers.

Sidney Lumet “Murder on the Orient Express”

In 1974, with a star-studded cast, one of Agatha Christie’s most famous novels was filmed for the first time. But instead of simply adapting the plot, the director created a complex and ingenious mystery rooted in ambition. Thanks to some decisions that changed the original fiction, it managed to surprise even the most devoted readers. It also showed that the story that takes place about a classic railway journey, it may be more than a detective story with a cliché ending.

Instead, Paul Dehn and Anthony Shaffer’s script told a plot that seemed to change direction from time to time. Especially when using the machine-to-machine transition as part of a larger argument. By hiding the obvious clues the book leaves about the killer’s identity, the director has further complicated the central mystery. Additionally, he ended up analyzing the psychology of his characters.

The result is a film that successfully resembles the book from which it is taken, but has its own personality. Also one of the best incarnations Hercule Poirot, played by Albert Finney. A model to follow for the character’s next visions.

Death on the Nile by John Guillermin

Two years later film adaptation Death on the Nile It has also captivated loyal readers. This time, Poirot He had Peter Ustinov’s face and was older, allowing the British director to bring innovation to the detective story context.

On top of that, it was an exploration of the writer’s actual knowledge of Egyptology, incorporated into the script as little winks. This made the plot even more tied to the novel.

But the most surprising thing about John Guillermin’s point of view was the transformation of the original love triangle into a clash of interests. With more attention to the greed of the main characters than in the novel, the action is much darker than the writer narrated. Which allows you to adapt to different places and a much larger number of adults.

“The Crooked House”, Gilles Paquet-Brenner

The film adaptation, written by Julian Fellowes (creator of Downton Abbey), is one of the most elegant in Agatha Christie’s saga. In this case, Hercule Poirot is replaced Charles Hayward (Max Irons), the second detective in the author’s stories. This gives the fiction a much more modern feel and no doubt brings it closer to the traditional detective story.

Although the script and director Gilles Paquet-Brenner’s skill are not particularly inventive, they give the story a good rhythm. The whole mystery surrounding the business tycoon is revealed with precision, in clear homage to Christie’s book, but,especially in English cinema. The result is a series of symbolic scenes, such as a routine interrogation between the perpetrators, who bring Hayward to the classics Sherlock Holmes.

However, the most interesting thing about the film is its ability to engage with bucolic scenes and confrontations between characters in the midst of very dark humor. In the last scene, where the culprit is in custody, the film also leaves a gift for the author’s fans. A clever detail that adds to the intriguing final scene.

Rian Johnson’s backstabs

It’s not actually an Agatha Christie adaptation. At least not from a specific book. Rather, it’s a complete homage to his world and his usual plot tricks. But the director and screenwriter went even further. turning a family death into an ideal occasion for confrontation between generations.

Moreover, in a greedy battle, with a subtle sense of humor and giving no respite to the viewer’s imagination. Rian Johnson manages to hide the secrets of his conspiracy in plain sight. Which allows us to leave the identity of the killer in the final scenes. And this after suspicions were raised about the guilt of every member of its star cast.

The Assassination of Kenneth Branagh on the Orient Express

The British version of the famous story about a group of passengers who had every reason to kill was released in cinemas in 2017. Even back then, there were rumors that Kenneth Branagh (who also plays Hercule Poirot) had intentions of creating an expanded Agatha Christie universe. Something that was showcased in this lavish production that focused on making it clear that the famous detective was more than just part of a great mystery.

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Less book-like than Sidney Lumet’s 1974 work, it takes some liberties in favor of providing context for several figures in the large cast. The result was a film that didn’t quite live up to the book it came from, but managed to spark interest in it. Poirot and his or her environment. What the director and screenwriter used in his version Death on the Nile and took it to the next level Mystery in Venice.