Even though "A Haunting in Venice" is adapted from Agatha Christie's novel "Murder on Halloween," it diverges significantly from the original work. It's advisable not to approach the movie with the expectation of a faithful adaptation, but rather view it as a fan creation for Agatha Christie enthusiasts.
In contrast to his previous remakes of "Murder on the Orient Express" and "Death on the Nile," Kenneth Branagh approached the story delicately in "A Haunting in Venice," devoid of unrealistic ambition. This lighter touch added an element of playfulness missing from the first two films. Whodunnit enthusiasts might find this film less satisfying, but those seeking a cinematic experience infused with an atmosphere of "panic" could be drawn to it.
Compared to typical mystery films that often exceed two hours in length, "A Haunting in Venice" clocks in at just over 100 minutes, signalling that it doesn't aim to be an ambitious masterpiece. The film diverges from Kenneth Branagh’s previous two remakes; there are no opulent and picturesque scenes, no grand locations, or special effects. Some viewers might find it lacking brilliance, while others may appreciate the intriguing plotlines. "A Haunting in Venice" serves well as an appetizer for newcomers to mystery films, offering a shorter and accessible entry point into the genre.
A Mystery Film under the Framework of “Three Uniforms”
The film follows the "classical unities" rule of drama, with the time, place and characters of the story highly condensed, and it is not an exaggeration to liken it to The Werewolves of Miller's Hollow Game. What the film kept from the original novel is the ghostly atmosphere on Halloween, but it is difficult to find exact corresponding plots of murders in the original work, whether about the characters' motives or the details of tricks. Among Agatha Christie's 60 novels, "Murder on Halloween" was written very late (published in 1969), with the author's preference shifting from the pursuit of trick design to the exploration of complex human nature.
In "A Haunting in Venice", the director tried to get closer to the mindset of Agatha, he deleted and changed the original plots, and mixed the themes in other novels of Agatha’s. For example, the morbid mother-daughter relationship in the film probably originated from another detective novel "Nemesis"(published in 1971) with Miss Ma Puer as the main character. As the most exciting part in the plot, "The Spirit Club" is reminiscent of "White Horse Hotel" (published in 1961).
"A Haunting in Venice" can be seen as an "integrating" film, achieving a natural and seamless narrative without obvious traces of manipulation. Plot shortcomings can be attributed to inherent challenges in designs involving closed-room mysteries, where external factors are eliminated, and the murderer is limited to a few individuals. As new murders occur, suspects become clearer, leading to the eventual unveiling of the killer. The screenwriter of "A Haunting in Venice" seems to be competing with Agatha Christie, but the new story falls short of the original. The technique of creating doubts feels somewhat blunt, and the solution can be easily guessed. For a mystery film, it's considered a failure if the audience can predict the identity of the murderer too quickly.
All Glamour Lying in the Part of "The Spirit Club" Starring Michelle Yeoh
"A Haunting in Venice", without fantastic plot twists as a mystery film, can hardly be redefined as a crime film as well. What Agatha pursued in her late novels is psychology not mystery, such as "Long Night" (1967), "Elephant Testimony" (1972), "Nemesis" (1971) and "Sleeping Murder" (1976) . In "A Haunting in Venice", the portrayal of characters and exposure of human nature are just on the surface, which can't make the audience really empathize with the characters in the film. The only part that can provide the audience with immersive thriller experience is "The Spirit Club" in the film. Jump Scare, though old-fashioned, is very effective.
A good actor, even if playing a walk-on part in a commercial film, can make the audience unforgettable
Michelle Yeoh, who played in "A Haunting in Venice" after "Everything Everywhere All at Once", reached a new level in terms of her aura and acting compared with her performance during the period of "Crazy Rich Asians" (2018). In "A Haunting in Venice," Michelle Yeoh's role in this commercial drama is still stereotyped, albeit different from her character in "Everything Everywhere All at Once."
Michelle Yeoh enjoyed her performance, and the audience enjoyed it as well. Whatever the reason why the director invited Michelle Yeoh to play, she is the reason why the film is worthy of watching in the cinema.
In comparison to the buzz created during the making of "Murder on the Orient Express" and "Death on the Nile," which failed to meet audience expectations upon release, the advantageof "A Haunting in Venice" lies in the filmmaker’s lack of grand ambitions, but this is also its drawback. Filmmakers of blockbuster movies might weather bad reviews confidently, but adopting a timid approach for a smaller film not only wastes talented actors but also leaves the audience disappointed. Crafting a small yet beautiful film is a worthy pursuit, but producing one that is small and mediocre falls short. Kenneth Branagh's room for trial and error has notably diminished.
"A Haunting in Venice" might not be a game-changer, but it does offer a fresh perspective for the remakes of this classic series. Detective and mystery novels have evolved over nearly two centuries, and even the most ingenious plot twists have their limits. When creators struggle to introduce entirely new plotlines, shifting the focus to the atmosphere can be seen as a valid compromise.
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