You can always count on Agatha Christie for a surprise, and the big twist in “A Haunting in Venice” is that it’s actually a pretty terrific movie. As a die-hard Christie fan who wasn’t too thrilled with Kenneth Branagh’s previous adaptations of her works, I’m delighted to report that this one hits the mark.
In “A Haunting in Venice,” Branagh and screenwriter Michael Green take Christie’s 1969 novel “Hallowe’en Party” and smartly overhaul the story, setting it in 1947 Venice. They embrace the Halloween theme, turning the cozy conventions of a detective story into a full-blown haunted-house thriller.
Branagh and his collaborators, including cinematographer Haris Zambarloukos and production designer John Paul Kelly, beautifully capture the allure of Venice. The film is filled with scenic shots of gondolas and canals at sunset, but most of the action unfolds in a magnificent palazzo owned by the opera singer Rowena Drake, played by Kelly Reilly.
Poirot, portrayed by Branagh, attends Drake’s lavish Halloween party along with his witty American friend, Ariadne Oliver (Tina Fey). Other notable guests include Jamie Dornan as a troubled doctor and the entrancing Michelle Yeoh as a medium known as “the unholy Mrs. Reynolds,” claiming to communicate with the dead.
The story takes a spooky turn as Mrs. Reynolds attempts a séance to contact the spirit of Drake’s deceased daughter, who died under mysterious circumstances at the palazzo. Soon, another guest is murdered, prompting Poirot, despite his retirement, to take on the case. He enlists Miss Oliver’s help in interviewing suspects, adding a delightful dynamic to the investigation.
Branagh’s portrayal of Poirot is as enjoyable as ever, and this time, the case is equally engrossing. “A Haunting in Venice” blends elements of horror into the narrative, with the palazzo rumored to be haunted by vengeful ghosts. Branagh effectively uses eerie visuals and jolting sound effects to create an atmosphere that even Poirot begins to question.
While the resolution of the mystery is clever but not overly intricate, the film’s true strength lies in its evocative depiction of post-World War II Venice. The characters, scarred by their wartime experiences, add depth and resonance to the story. Poirot himself, a World War I veteran, emerges from retirement with a renewed sense of purpose, making for a poignant character arc.
In “A Haunting in Venice,” Branagh successfully straddles the line between genres, combining elements of mystery and horror while maintaining elegant visuals. Despite a slightly talky middle section, the film offers a unique and enjoyable cinematic experience. Tina Fey’s comedic energy injects a welcome dose of humor into the story, making this adaptation stand out from Branagh’s previous Christie films.
In the end, “A Haunting in Venice” proves that sometimes, even weaker source material can be transformed into an engaging and memorable cinematic adventure. As Poirot eagerly looks forward to his next case, so do I, eagerly anticipating more surprises from the world of Agatha Christie.
Genre: Mystery, Thriller, Horror
Rating: ★★★★☆
(Note: The film is rated PG-13 for dangerous apple-bobbing and death by impalement.)
