PBS, Masterpiece: Murder on the Orient Express
I cannot stop watching the most recent version of Agatha Christie’s, Murder on the Orient Express. Although I know if I were to see a behind the scenes DVD of the train shots, I would probably learn that the snow and all the rest of the background is all green screen. It looks so cold. Note the purple lips when people are standing in the cold. I can just imagine being on that cramp train stuck in a snowdrift with all of those characters and the only worry is how to warm the water for tea. Add that to the delicious fact that there is a murder, the murder of a horrible horrible child-killing murderer. Plus, a few deserving guffawing moments at hearing the various put on accents by actors playing characters from countries other than their mother countries.
I suppose one could say this is how camp is formulated.
The whole catholic sensibilities and guilt can be easily dismissed as the delusions of typical raving papists who land writing jobs. The same can be said for the Jews and Protestants when they have pen in hand. So droll. I suspect, but wonder if this religious claptrap is the work of Christie or the contemporary television writers. I will have to get my hands on a copy of the original novel.
Moreover, please spare me Poirot’s hypocrisy. When an alleged adulterous woman is stoned to death in the streets of Istanbul, he cannot bother to ignite sympathy and/or empathy. However, when the thought of twelve people getting together and murdering a for real for real child-killing murderer materializes, it is all “HOW DARE PEOPLE TAKE THE LAW IN THEIR OWN HANDS!” There is always a different standard when the “victim” is male. Paraphrasing Poirot, the “tainted” Istanbul woman should have known better. She understood when she broke the law, yet, what? The child murderer did not understand when he broke the law? Whatever Poirot. Tell it to your two equally sized boiled eggs.