Review of Mysteries of Venice (A Hatred of Venice), the third installment of Kenneth Branagh’s Hercule Poirot adventures inspired by Halloween Party. Premieres September 15.
How about our friend’s films Kenneth Branagh! completion Murder on the Orient Express and on Death on the Nilewent back in front of and behind the cameras on Death in Venice (A Hatred of Venice), a film that differs from its predecessors by entering completely into the field of horror. And the game is very good.
The first and best thing about the film is making a evil atmosphere from the first shot shown in a nightmarish Veniceconverted from the first moment to another, terrifying character, which grows with every image and sound that plunges us into mystery.
abundant aberrant shots introduce us to a city where the menacing nature of what is about to happen is underlined Once Poirot, a skeptical detective by nature, is pushed to handle a case that will make him rethink his beliefs about the afterlife. The pigeons of St. Mark’s Square, the chimes, the rain, the gondolas…
We are set on the day before the night of Halloween 1947, in the city of canals, to learn that Poirot’s peaceful retirement life is about to be disturbed by an unexpected visitor.
The writer Ariadne Oliver (Tina Fey) suggests that she attend a party in honor of the city’s orphans at the palazzo of opera diva Rowena Drake, after which there is a séance led by the medium Mrs. Reynolds (Michelle Yeoh).
He tries to contact Rowena’s daughter, who died in an unfortunate accident that led to her falling off the balcony and drowning.
After the party, the children leave and a storm rages, causing the guests of the session to be trapped inside the construction, haunted by a dark legend. A group of children are taken to the basements and left to die to their fate, so it is believed that their spirits seek revenge and manifest themselves at night.
Shortly after midnight, Poirot is attacked and an unsolved crime takes place. Secluded and guarded by ghostly presences, the night’s attendees must unravel who or what the killer is as all sorts of terrifying events unfold.
Poirot’s Longest Night
Anyone looking for a narrative that is very faithful to Agatha Christie’s police thrillers may be disappointed by the formula that Branagh uses on this occasion because it is down to the toes of horror in the unusual. that way.
The story lends itself to this and gives the impression that the filmmaker had a great time shooting this movie in a way that allowed him to play each of the aspects of the game: impeccable production design and extreme wealth. . of planes: overhead , high angles, low angles, mostly Dutch planes, tend, to make us feel unstable and restless…
But he doesn’t just use these tools to compose the narrative, sometimes he also shoots with a camera strapped to his body, composing a confusing perspective and using both dark lights and elements of props and decorations that almost subliminally remind us. alert (statues, sheets, background objects…).
Branagh’s constant companion, Haris Zambarloukos, is one of the safe properties no matter what you do. Your work shines Belfast like the Poirot saga, each is a distinct exercise in style.
If we add to this a very dynamic montage, where the action is developing and loud noises and unexpected events do not stop, we can say that. Mysteries of Venice This is an amazing witch train. The soundtrack of Hildur Guðnadóttir (Tar) also added.
The script of Michael Green (Logan) is flying free about Agatha Christie’s novel Halloween Party translated in Spain as The apples. The fruit of original sin, of course, is one of the film’s leitmotif themes, emphasizing the seductive attraction of allowing oneself to be carried away by superstition.
on Mysteries of Venice Not only is there a big change in the plot, but the location of the story, with dramatic purposes and making the atmosphere more than reasonable. With the permission of our great Álex de la Iglesia and his Veneciaphrenia Branagh manages to get the juice out of the city in a way that can only be applauded.
In general, they are 103 minutes of absolute pleasure for lovers of horror and whodunits where you feel yourself trapped and at the mercy of the director. Great film and perfect for the start of fall.
PURCHASE:
Who is to tell us that we should be afraid to watch a Poirot movie? The planning of filming, the editing, the soundtrack, the sound effects… Everything is in the service of making our hair stand on end while we enjoy a first-class whodunit.
THE BEST:
The unique horror tone of the film, the unique setting and the pulse of Branagh’s shooting. It’s a lot of fun.
MORE:
The presentation of some secondary characters and the dose of information. It’s easy to predict the twists even if you haven’t read the novel.
