'A Haunting in Venice' Review: A delectable treat for Poirot fans

It is the return of Hercule Poirot, and a compelling one at that, for Kenneth Branagh’s directorial feature that centres him as the eponymous and famous detective created by Agatha Christie. Based on Christie’s novel The Halloween Party, the film begins with Poirot’s self-imposed retirement. Ariadne Oliver (Tina Fey) attempts, quite successfully, to bring Poirot out of the said retirement to not just ‘crack’ a case but to believe in something higher than his logic and the brutally stoic perspective of cold facts.

Joyce Reynolds (the indomitable Michelle Yeoh) is a ‘psychic’ trying to communicate with a dead daughter in a palazzo where Poirot, Oliver and the rest of the murder suspects are trapped. What ensues in the next 100 odd minutes is a perfect set-up of mystery, supernatural hinting and a classic whodunit. The events that transpire in the dark and haunting palazzo make Poirot question his own stoicism.

Branagh, directing the feature himself, uses carnal fears to perfection: claustrophobia, shock noises, sudden twists and soft songs echoing from the beyond keep you riveted and make you trust no one. Haris Zambarloukous’ cinematography gives A Haunting in Venice the needed mysterious layers and shades.

Scenes are set in narrow corridors and ceilings, and tapestries tell the story even when there is no dialogue, and it is Poirot’s piercing blue gaze that scans his surroundings. It is the sparse use of music, allowing the thunder and rain and the glugging of Venice’s lakes to do the talking that makes A Haunting in Venice an even more gripping experience. It is as if you are submerged in the supernatural palazzo’s tragic backstory and the sea of psychologically disturbed individuals in the present.

Who will it be? The reckless housekeeper who believes ghosts haunt the palazzo? The war veteran doctor who is prone to fits of anger, the bereaved mother, the grifting psychic’s grifting assistants or will it be someone closer to home? Will it be Poirot’s own guard? At one point, everyone is a suspect, as Poirot’s own mind begins to play tricks on him.

Poirot continues to be a vintage yet quintessential detective. His low but sure baritone inspires faith — but even the most faithful shake at times. The film explores that aspect slightly but is careful enough to not make it completely about that. Because you, like Poirot, will pick up on facts and logic and piece together some elements, if not all. We have Poirot to do that perilous job, after all.

In an OTT era where it is difficult to hold audience attention, especially for a genre as demanding as mystery, A Haunting in Venice must be experienced in IMAX. From the sound effects to the creaky doors, everything about this horror/mystery thriller will make you shrink in your seat with delicious fear. Michael Green’s sharp screenplay doesn’t miss a beat and keeps you guessing till the very end with clues that are neither easy nor prolific.

Straying fairly away from the original source material, it does keep the classic Christie style intact: an edge-of-your-seat thriller that will keep you guessing till the very end. But the lesson is as poignant as ever; as Poirot states, the real ghosts are the ones you have to learn how to live with.

A Haunting in Venice

Director: Kenneth Branagh

Cast: Kenneth Branagh, Michelle Yeoh, Tina Fey

Stars: 4/5

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