A Haunting in Venice: Branagh’s Best Agatha Adaptation Yet
A Haunting in Venice (2023)
Directed by Kenneth Branagh
Starring Michelle Yeoh, Jamie Dornan and Tina Fey
Before I begin my review of Kenneth Branagh’s third Agatha Christie adaptation where he takes on the dual roles of director and lead actor, A Haunting in Venice, let me quickly recap my review of his second Christie film, Death on the Nile. The film was engaging despite numerous shortcomings, notably buoyed by Branagh’s strong lead performance and the allure of a classic whodunit. While I appreciated the ensemble cast’s efforts, some performances felt less convincing, and the CGI was noticeably subpar.
Now that you are caught up on my hopes for a better “whodunnit” from Branagh, I’m thrilled to say that A Haunting in Venice, released in 2023, not only exceeds his previous efforts but has also become one of my favorite mysteries in a long time.
Hercule Poirot, masterfully brought to life with a newfound introspection by Kenneth Branagh, steals the show once again, but this time around the casting is exceptionally apt for the storyline. Tina Fey, in a departure from her comedic roots, convincingly plays British writer Ariadne Oliver, a character that subtly honors the creator of these stories, who penned a total of 66. Despite her dramatic prowess, Fey’s long-standing portrayal of Sarah Palin on Saturday Night Live occasionally surfaces, bringing a touch of humor to her role. Jamie Dornan and Jude Hill, following their previous collaboration with Branagh in Belfast, explore a new father-son dynamic that is distinctly different from their past work. This shift allows Hill to demonstrate his acting range, evolving from a precocious child to a more nuanced character. Dornan, as Dr. Leslie Ferrier, intriguingly presents a character who is neither an exemplary doctor nor father, adding layers to the narrative. Although the entire cast’s contributions are noteworthy, discussing their performances in detail might risk revealing key plot elements of this whodunnit. It’s sufficient to say that each actor skillfully conveys the essence of their character as scripted, enhancing the overall storytelling.
A Haunting in Venice transcends being merely a showcase for the acting prowess of its ensemble cast. Its visual splendor is, perhaps, its most captivating attribute. The blocking, lighting, and overall cinematography, orchestrated by Haris Zambarloukos—who has collaborated with Branagh on numerous occasions, including the previous two Christie adaptations—are simply breathtaking. Zambarloukos’ skill in transforming a predominantly single location into a canvas that is at once vivid, abstract, and cohesive is nothing short of remarkable. The early scenes set in Venice, which establish the setting with the kind of beauty reminiscent of moving paintings of the “City of Canals,” demonstrate an impressive level of care in their creation. These scenes sparked excitement for how the film would portray the more ominous moments in the haunted home of opera singer Rowena Drake, portrayed by Kelly Reilly (known for her roles in Yellowstone and True Detective). The film not only met but exceeded my expectations in this regard.
The runtime, a perfect one hour and forty-three minutes, ensured I was never bored. When the climax arrived, revealing the “whodunnit,” it felt perfectly timed. The denouement provided insight into the futures of the surviving cast members and, more importantly, positioned Hercule Poirot for further adventures. (Hey, Kenneth you have 63 more Agatha Christie stories to choose from, so choose wisely! Oh, and kudos on the name change for this one. Halloween Party just doesn’t sound as cinematic.)
Grade: If the first Agatha Christie adaptation by Branagh, Murder on the Orient Express, was a C, and the second, Death on the Nile, a B-, then the third, and hopefully not the last, is a B+.