Unveiling the Spine-Chilling Spectacle: “A Haunting in Venice” Creeps into Cinemas on September 13—ClickTheCity
Do not be deceived by the comical mustache or the whimsical accent, for Kenneth Branagh has masterfully transformed Agatha Christie’s Hercule Poirot narratives. While “Murder on the Orient Express” presented a decent thriller and a satisfactory reimagining of a classic whodunit, “A Haunting in Venice,” now available on Hulu just in time for the All Hallows’ Eve, stands as his finest enigma (and let us unanimously refrain from mentioning “Death on the Nile”).
“A Haunting in Venice” draws its essence from Christie’s “Hallowe’en Party” but ventures down a divergent path. In this rendition, Poirot is coaxed out of retirement at the behest of a fellow scribe, who implores him to investigate the dubious claims of a supernatural medium. Naturally, things take an unexpected turn, culminating in a murder that compels our valiant mustachioed Belgian detective to delve into the enigma.
A group of individuals partake in a séance Image: 20th Century Studios Three Poirot films deep, Branagh undeniably grows more self-assured as a maestro of the murder mystery genre. “Haunting” brims with stylish visual embellishments and pays homage to the luminaries of the era in which the narrative unfolds, from Fritz Lang to Orson Welles. The Venetian villa, where the majority of the story unfolds, is captured in the spirit of a Gothic fortress, shrouded in vast, looming shadows that engulf the frame, leaving nothing but obscurity. Armors loom ominously in the background, poised to spring to life. The entire film exudes an atmosphere of brooding foreboding and enigma, yet it maintains its impetus and enjoyment throughout. Branagh may not quite attain the originality of vision of the true masters, but he excels in adapting and repurposing directing styles and camera movements, as he has always done with stories.
This film ranks as the most hair-raising in Branagh’s detective film repertoire, making it the perfect choice for a Halloween night screening. However, it does not quite escalate to the levels of sheer horror, ensuring it remains suitable for a broad audience. Apparitions and specters frequently make their eerie presence known, rumors of a haunted orphanage abound, and death lurks around every corner, yet the chills are tempered for most viewers to endure.
A shrouded figure dons a spine-chilling Venetian carnival mask Image: 20th Century Studios The sole blemish on this cinematic gem is that not all of the actors rise to the occasion of matching the script and direction. Branagh delivers his finest Poirot portrayal, combining archness, sagacity, and just the right dash of eccentricity, all while bearing the weight of someone who has witnessed a multitude of deaths. Camille Cottin shines as a dubious housekeeper, and Michelle Yeoh dazzles in her all-too-brief role as the medium Poirot is summoned to scrutinize. Unfortunately, the same cannot be said for Tina Fey. As Poirot’s author friend, she lacks the charisma to measure up to the rest of the cast and, regrettably, overshadows the movie more than she should. Nevertheless, this minor flaw does little to diminish the overall delight of the film.
The more Branagh invests in his Poirot chronicles, the more evident his affection for them becomes. These films bring out the best in him as an actor and filmmaker. He gets to experiment with accents and indulge in a plethora of whimsical idiosyncrasies. Branagh truly shines when he has wellspring references to draw from, whether they be novels or entire epochs of filmmaking, and this series affords him both. Fortunately, he relishes this endeavor, and it shows, as these adaptations continue to improve. Here’s to as many more as Branagh is willing to undertake.
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