There Is Murder In Your Eyes: Murder on the Orient Express, 1974

Murder on the Orient Express is in theaters this Friday, undoubtedly my most anticipated film event of the year. Based on the novel by Agatha Christie, the world-famous whodunnit has Hercule Poirot traveling on the Orient Express when the train becomes snowbound...and murder strikes. The solution is simultaneously shocking and one of the most famous in literature. The mystery is glamorous, with Poirot interviewing thirteen suspects from around the world, from butlers and car salesmen to diplomats and royalty. It's the quintessential Christery.

Small wonder, then, that it has inspired filmmakers time and again over the years. Including the new film, starring and directed by Kenneth Branagh, there are five adaptations of Murder on the Orient Express. We're taking a look at each one every day this week, and what better place to start than at the beginning? Let's go back 43 years, so we can check out...

Murder on the Orient Express (1974)

dir: Sidney Lumet

Glorious Technicolor: Cinematography, 1964 - Part One

Yep, another two-parter, also courtesy of the distinctions made for the Visual Splendor categories. Hopefully, we can look at B&W Cinematography and Color Art Direction soon, but for now, let us bask in the brilliance of these nominees:

BECKET

Geoffrey Unsworth, director of photography

***

Unsworth does marvelous tricks with his lighting. He gives us a fuller sense of the glory of God.

CHEYENNE AUTUMN

 William Clothier, director of photography

****

Certainly the snowy climax is impressive enough, but I adore those mountains and rivers and officers' tents. Beautiful work.

MARY POPPINS

 Edward Colman, director of photography

****

Really: it never left the soundstage, yet that exterior is perfectly lit! But, of course, I have to go with the iconic chimney sweeps and the Bird Woman, with that Vaseline sheen on the edges.

MY FAIR LADY

 Harry Stradling, director of photography

*****

Also a soundstage show, Stradling gives us equally beautiful day and night.

THE UNSINKABLE MOLLY BROWN

Daniel L. Fapp, director of photography

**

Subtle work, solidly done.

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Oscar and I once again team up to bring you the champion:

HARRY STRADLING

for

MY FAIR LADY

 I could have danced in this light

Painting with Light: Cinematography, 1974

I try not to be too focused on the nighttime cinematography, where the play with light is most obvious. That actually helps Orient Express, which has a kind of bright, dreamlike sheen throughout the film, like there's nylons and Vaseline on the lens.

CHINATOWN

John A. Alonzo, director of photography

***

How did they even get that first shot?

EARTHQUAKE

Philip Lathrop, director of photography

*

Honestly, I am very shocked that this was nominated. I think it's one of those special effects nominees whose camera tricks and matching templates just wows us. Which is fair, but this is soooo dulllllll.

LENNY

Bruce Surtees, director of photography
*****

Ugh. So much beauty in every frame.

MURDER ON THE ORIENT EXPRESS

Geoffrey Unsworth, director of photography

****

I love love love the kind of bright, dreamlike sheen used throughout the film, like there's nylons and Vaseline on the lens. And then at night, shit like the first shot. Outstanding.

THE TOWERING INFERNO

Fred Koenekamp & Joseph Biroc, directors of photography

***

I'm actually pretty impressed with the cinematography here. A lot of great power outage/night time shots. Some hokey light effects, like shining a big red light on their faces when they open doors. It's clearly not fire, because it's not flickering. But I do love the last section.

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The Towering Inferno won the Oscar, which is pretty cool, to be honest. It's a little predictable, maybe, but once again, I love that movie with the comedian. The Oscar goes to shoulda gone to...

BRUCE SURTEES

for

LENNY

this movie is so fucking perfect