At first glance, with his goofy mustache and distinctive accent, you might not expect Kenneth Branagh to master the adaptation of Agatha Christie’s Hercule Poirot stories. However, his recent work proves otherwise. While “Murder on the Orient Express” provided a fine thriller and a decent modernization of a classic whodunit, “A Haunting in Venice,” now available on Hulu just in time for Halloween, stands out as Branagh’s best mystery yet (and let’s kindly avoid discussing “Death on the Nile”).
“A Haunting in Venice” is adapted from Christie’s novel “Hallowe’en Party,” but it takes artistic liberties with the source material. In this installment, Poirot is reluctantly pulled out of retirement at the request of a mystery novelist friend. His mission: to investigate the dubious supernatural claims of a medium. Naturally, things take an unexpected turn, leading to murder, and requiring our beloved mustachioed Belgian detective to dive into the investigation.
With three Poirot movies under his belt, Branagh exudes confidence as a director in the murder mystery genre. “Haunting” is packed with stylish visual flourishes and nods to the greatest directors of the era in which the story unfolds, from Fritz Lang to Orson Welles. The Venetian villa, where most of the movie’s action unfolds, is masterfully shot, evoking the atmosphere of a Gothic castle. It’s filled with looming shadows that stretch across the frame, engulfing the room in darkness. Suits of armor appear menacingly in the background, as if poised to come to life. The film oozes with an eerie and suspenseful ambiance, never sacrificing its momentum or sense of enjoyment. While Branagh may not match the originality of visionary directors, he excels at adapting and repurposing directing styles and camera movements, a skill he has consistently demonstrated.
“A Haunting in Venice” ranks as the scariest of Branagh’s detective movies, making it a perfect choice for a Halloween viewing. It introduces elements of the supernatural, haunted orphanages, and an ever-present sense of impending doom without becoming too frightening for most viewers to handle.
However, not all of the cast members are equally up to the task of matching the script and Branagh’s direction. Branagh himself shines as Poirot, bringing depth and a touch of silliness to the character, combined with the weight of a detective who has confronted numerous deaths. Camille Cottin delivers an excellent performance as a suspicious housekeeper, while Michelle Yeoh stands out in her brief role as the medium under Poirot’s investigation. Unfortunately, the same praise can’t be extended to Tina Fey. Her portrayal of Poirot’s author friend lacks the charisma to match the rest of the cast and, at times, overplays her character’s intrigue, revealing more than necessary. Nonetheless, this is a minor concern in an otherwise highly enjoyable movie.
As Kenneth Branagh continues to invest time in his Poirot series, it becomes evident that he takes great pleasure in creating these adaptations. This is fantastic news because these movies capture Branagh at his most enjoyable, both as an actor and a filmmaker. He gets to embrace a charming accent and eccentric mannerisms, all within one performance. Branagh truly excels as a filmmaker when he has clear references to draw from, whether they’re novels or entire filmmaking eras. The Poirot series provides him with both, and it’s apparent that he is relishing the opportunity to bring these adaptations to life. These movies are starting to exhibit real quality, and here’s to as many more as Branagh wishes to create.
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