I've always wondered if I've seen this version, but my friend insisted that it's always on TV in the summer vacation. When I read the English version, it didn't feel familiar at all. I clicked on the translated version today. Well, I can be sure that I have seen this one. Of course, it may just be that I am too familiar with the translation accent.
At the beginning of this film, Armstrong's case is used as the entry point, and the case is briefly explained with videos, photos and newspapers, and then it jumps directly to Istanbul five years later. This part is a little abrupt for those who haven't read the novel. As soon as the camera turned, the tutor and the officer appeared. They were talking on the first floor on the ferry, and Poirot could hear it on the second floor. This hearing was really good. With the director's appearance, the camera shifts to the train station. This section is quite interesting. The characters are on the spot one after another, accompanied by various details. What is more interesting is the crowd in the background, which includes various races and distinctive national characteristics. For example, I see oriental women wearing hats, but I'm not sure if they are Chinese or Vietnamese. Because when I was watching Ballet Russes' The Nutcracker, the Chinese also wore hats. I also saw a few women in kimono, African chiefs, etc. It was very interesting.
This version of Poirot is a little neurotic, and feels rougher when questioned. Looking back now, I personally feel that the Japanese version of Poirot should be a humorous and exaggerated imitation of this version of Poirot. This version of Poirot made his position clear, saying that police would like to say it simply. The empathy at this time was in stark contrast to the fierce attitude before, this stubborn old man still made a compromise. The film doesn't show much of his hesitation.
The assassination scene and the toasting scene are the two parts that I am personally impressed by, and they are also very dramatic. The assassination scene was shrouded in a faint blue light. Except for the person holding the knife, everyone else was under the relatively bright light. It was like a solemn ceremony. And each person's movements are also very characteristic, the sister's trembling hand was stabbed by her husband, the nanny repented after stabbing the knife, and the mother watched the whole process quietly. The order of toasting is also very interesting, first the mother and sister, then the conductor, then the prosecutor's son, brother-in-law, governess, military officer, police officer, princess, cook, housekeeper, driver, babysitter. The first three are the survivors, followed by the group of relatives and friends, and starting with the godmother, the group of servants. The tutor is not only the wife's secretary but also the lover of the officer, who is a good friend of Mr. Armstrong. This multiple relationship makes her and the Armstrong family closer. The cook is the godmother's personal maid, and it is natural for the servants to be brought out. It is reasonable to think that the princess, as the mother's admirer, and the wife's godmother did not toast earlier.
In this sense of relief, the train started, and the brisk background music sounded, as if the train started at the beginning, as if to indicate that everything was starting again.
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