A Haunting in Venice

After Murder on the Orient Express and Death on the Nile, Kenneth Branagh once again adapts Agatha Christie's novel. This film poses a dilemma for the admirer of the Queen of Crime that I am. This luxurious murder investigation, which tends towards the fantastic, is a good movie in itself, but a betrayal of the work. Review without spoiler. 

Kenneth Branagh reunites with screenwriter Michael Green for this third adaptation of an Agatha Christie crime novel, Hallowe'en Party (1969), in French La Fête du Potiron, republished as Le Crime d'Halloween in 1999. Michael Green was also inspired by her terrifying short stories from The Last Seance. Michael Green wrote Gotham, Alien: Covenant, Blade Runner 2049 and comics like Superman/Batman. One can feel this influence in the script which integrates the supernatural and jumpscares. The original title of the film reflects this evolution towards the fantastic, with the word haunting and not mystery. This is the first betrayal. Agatha Christie is a writer of mystery, all finesse and sobriety, not jumpscares. The temporality of the story in one night creates a break with his universe, where Hercule Poirot takes his time to gradually put together all the pieces of the puzzle and solve the case. The script transforms the novel into a murder party, the action taking place in a palace in a single night. Moving the action to Venice creates a third break from this immersion in the English countryside, with its manors, its gardens, its traditions, tea time, everything that makes England so charming. For Michael Green, “no place seems more haunted than a Venetian palace. » A new visit to English and Scottish castles is to do. Finally, the characterization of the main characters, Hercule Poirot and Ariadne Oliver, and their relationship are too far from those of the novels.

Kenneth Branagh, actor and director, has surrounded himself with a solid international cast with impeccable interpretation: Kyle Allen, Camille Cottin, Kelly Reilly, Riccardo Scamarcio... They restore the traumas of their characters with accuracy and sensitivity. Michelle Yeoh plays a famous elegant, mysterious and fascinating medium. Special mention to Jude Hill, 12 years old. He plays with great talent, Leopold, the son of Doctor Ferrier (Jamie Dornan), a child of great intelligence and maturity. The problem lies in Kenneth Branagh's choice to play Hercule Poirot. This Belgian detective is one of the novelist's most famous protagonist. Proud, meticulous, gourmet and plump, he has a psychological approach to crime and focuses on small details. Despite his talent, Kenneth Branagh does not recreate this characterization on screen, unlike actor David Suchet, who played it masterfully in the British ITV series. For instance, David Suchet wore a prosthesis in order to become this chubby character, able to solve a murder case in his armchair thanks to his little brain cells. Acting was sometimes painful. He integrated this weight into his acting. Kenneth Branagh chose to keep his line, sacrificing the character, and the actor, for his personal image.

Venice is a cinema-genic city, with its palaces and gondolas on the canals. It is conducive to mystery with its imagination of masks and disguises, linked to its Carnival. Art Design and photography restore this beauty, this elegance, this mystery. The historical reconstruction is neat. Hildur Guønadøttir's atmospheric music enhances the spooky atmosphere. Kenneth Branagh's direction and his acting are effective, but do not reproduce the specificities of Agatha Christie's work. The final scene, so important in the structure of the novels, is flatly staged, without inventiveness, spoiling the ending.

For those who do not know the work of Agatha Christie, this film mixing thriller and fantasy is well made. For fans, the script and the direction are not at the level of the work of the Queen of Crime.

A Haunting in Venice
Directed by Kenneth Branagh
Screenplay by Michael Green
Based on Hallowe'en Party by Agatha Christie
Produced by Kenneth Branagh, Judy Hofflund, Ridley Scott, Simon Kinberg
Starring Kyle Allen, Kenneth Branagh, Camille Cottin, Jamie Dornan, Tina Fey, Jude Hill, Ali Khan, Emma Laird, Kelly Reilly, Riccardo Scamarcio, Michelle Yeoh
Cinematography : Haris Zambarloukos
Art Design : John Paul Kelly
Costumes : Sammy Sheldon
Edited by Lucy Donaldson
Music by Hildur Guðnadóttir
Production companies : Kinberg Genre, The Mark Gordon Company TSG Entertainment, Scott Free Productions, Agatha Christie Limited
Distributed by 20th Century Studios
Release date : September 13, 2023 (France), September 15, 2023 (United States)
Running time : 103 minutes

Seen on September 7, 2023 at Publicis Cinémas, room 1 

Sabine's Mark:

A Haunting in Venice marks Kenneth Branagh's successful return to the role of director and iconic detective Hercule Poirot, in the third installment of his Agatha Christie adaptation series. This particular adaptation takes a bold leap into the supernatural, moving away from the more conventional murder mysteries we saw in Murder on the Orient Express and Death on the Nile. In this eerie, atmospheric reimagining of Christie's 1969 novel Hallowe'en Party, Kenneth Branagh perfectly blends elements of mystery, Gothic horror and psychological exploration to create a cinematic experience of haunting enigma.

Set against the backdrop of post-war Venice, the film paints a vivid picture of a city steeped in history and intrigue. Hercule Poirot, now retired, has chosen a quieter life, indulging in freshly baked pastries and tending his garden. His decision to avoid new cases is an attempt to find solace and distance himself from the relentless pursuit of justice that has defined his career. However, his solitude is abruptly disrupted when his old friend, the vivacious mystery writer Ariadne Oliver, played with charm and wit by Tina Fey, entices him to attend a Halloween party and seance at a grand Venetian mansion.

As all the guests gather for this spooky event, the stage is set for a thrilling, supernatural story. The manor house, with its dark history as an orphanage rumored to be haunted by the restless spirits of deceased children, becomes the focal point of the story. The grieving mother, Rowena Drake, played with grace and vulnerability by Kelly Reilly, is convinced that her daughter's tragic death is somehow linked to these sinister legends. Famed medium Joyce Reynolds, played with magnetic allure by Michelle Yeoh, adds a touch of mysticism to the gathering and intends to make contact with the spirit world during the séance.

However, the evening takes a chilling turn when one of the participants is brutally murdered. Poirot, reluctantly drawn back into the world of crime-solving, must not only answer the question of who committed this heinous act, but also the unsettling possibility of supernatural forces at work. The film deftly weaves the threads of mystery, the macabre and the psychological, creating an atmosphere of uncertainty and dread that permeates every scene.

Branagh's direction is simply inspired. He uses cinematic techniques such as Dutch angles and close-ups to convey the unease of the characters and the deteriorating state of the mansion. The looming storm outside adds an element of impending doom, heightening the tension and giving the impression that the mystery itself could be swept away at any moment.

What sets A Haunting in Venice apart from its predecessors is its willingness to let the audience notice subtle details while keeping much of the magic hidden. While respecting the classic Poirot structure - the introduction of the set, the precipitating event, the search for clues and the resolution - the film offers a deeper exploration of the Poirot character. He is no longer just a brilliant detective, but a man haunted by his own demons, both those of war and those of his relentless quest for justice. This mental turmoil adds a layer of complexity to the character and naturally heightens the tension, leaving the audience to wonder whether Poirot is in over his head this time.

The entire cast shines brightly, each member contributing to the exploration of broader themes. Jamie Dornan and Jude Hill, who previously worked together in Belfast, reunite as father and son, delivering convincing performances that strike a chord. Camille Cottin and Kelly Reilly imbue their characters with depth and emotion, while Kyle Allen, Emma Laird and Ali Khan underpin the supernatural elements with their convincing performances. Michelle Yeoh's presence is magnetic, and her portrayal of the enigmatic medium adds an air of uncertainty to the story.

A Haunting in Venice is also a visual treat, thanks to the meticulous work of the production and costume designers. The film's period costumes, designed by Sammy Sheldon, transport viewers to post-war Venice, while Hildur Guðnadóttir's eerie score enhances the eerie atmosphere. John Paul Kelly's production and Celia Bobak's sets deserve special mention for creating a palazzo that seems closer to the spiritual than the living world.

Branagh's cinematographer, Haris Zambarloukos, uses a range of techniques, including Dutch angles, wide lenses and unique framing, to create a disorienting, otherworldly visual experience. While some viewers may find these choices disconcerting, they're perfectly in keeping with the film's themes and the sense of disorientation Poirot feels when grappling with the supernatural.

Perhaps the most intriguing aspect of A Haunting in Venice is its departure from the conventional murder mystery genre. He delves into the supernatural, weaving a tale where the lines between the natural and the paranormal become blurred. This shift in theme allows Branagh to explore deeper questions about faith, trauma and the human psyche. As the characters confront their own ghosts, audiences are invited to question the limits of reality.

In the age of shared cinematic universes, Branagh approaches A Haunting in Venice as a stand-alone episode in the Poirot series. Although there are few references to the previous films, having seen them enriches the experience. Poirot's emotional journey is deeper, especially after the events of Death on the Nile. Branagh's portrayal of Poirot as a man burdened by the past and by his own vulnerabilities adds depth to a character who has become a beloved cinematic icon.

The film also introduces subtle ghosts thanks to Branagh's adaptation choices, such as transposing the story to Venice and setting it in 1947. Venice, untouched by the Second World War, provides an exotic yet haunting backdrop, and the characters' wartime traumas are integral to the story. The house itself, with its eerie history and rumors of a curse, becomes a character in its own right, casting a shadow over every scene.

A Haunting in Venice is a film that constantly challenges its viewers, blurring the boundaries between reality and the supernatural. It offers moments of genuine horror and tension, punctuated by Poirot's deadpan humor. The pace may seem rushed at first, but as the story unfolds, the film's frenetic pace forces the scattered pieces together, creating a viscerally pleasurable and memorable experience.

Finally, A Haunting in Venice is a bold and haunting addition to Kenneth Branagh's Poirot series. It successfully blends elements of mystery, gothic horror and psychological exploration to create a unique and immersive cinematic experience. While not as immediately watchable as other mysteries, it leaves a lasting impression and offers plenty of food for thought. Branagh's commitment to the character of Poirot and his willingness to explore new thematic territory make this film a must-see for fans of the genre and lovers of enigmatic stories. A Haunting in Venice is a cinematic achievement that showcases Branagh's prowess and Poirot's enduring appeal in a world where the supernatural and the human collide in spectacular fashion.

A Haunting in Venice
Directed by Kenneth Branagh
Screenplay by Michael Green
Based on Hallowe'en Party by Agatha Christie
Produced by Kenneth Branagh, Judy Hofflund, Ridley Scott, Simon Kinberg
Starring Kyle Allen, Kenneth Branagh, Camille Cottin, Jamie Dornan, Tina Fey, Jude Hill, Ali Khan, Emma Laird, Kelly Reilly, Riccardo Scamarcio, Michelle Yeoh
Cinematography : Haris Zambarloukos
Edited by Lucy Donaldson
Music by Hildur Guðnadóttir
Production companies : Kinberg Genre, The Mark Gordon Company TSG Entertainment, Scott Free Productions, Agatha Christie Limited
Distributed by 20th Century Studios
Release date : September 13, 2023 (France), September 15, 2023 (United States)
Running time : 103 minutes

Seen September 13, 2023 at Gaumont Disney Village, room 3 seat A19

Mulder's Mark: