Welcome to Six Damn Fine Degrees. These instalments will be inspired by the idea of six degrees of separation in the loosest sense. The only rule: it connects – in some way – to the previous instalment. So come join us on our weekly foray into interconnectedness!
In the early ‘70s, a British film studio hoping to make a global success decided to tap into one of the nation’s most famous exports: Agatha Christie. When it came to which of her works they would adapt, they opted for Murder On The Orient Express – a story that would allow for an exotic (if relatively cheap) location and a large cast that could be filled with bankable stars. Audiences, they hoped, would head to the cinemas thanks to the name of the author and the likes of Sean Connery, Lauren Bacall, Ingrid Bergman and Anthony Perkins.
The formula worked. The film was a huge hit, a commercial triumph topping the US box office. It also enjoyed great reviews, with critics praising Sidney Lumet’s stately direction and the strength of the adaptation. Indeed both audiences and critics seemed to mention just one flaw with the film: Albert Finney as Poirot.Continue reading