This is a spoiler-free review.
Sailing across the canal in a Venetian gondola as fireworks lit the night skies, children in costumes cheered as they arrived in the palazzo for a Halloween party. The run-down building strikes an eerie appearance, while the candle flames illuminate the glamorous details of the gothic interior architecture. If every house in Venice is said to be haunted or cursed, what dark secret does this palazzo hold?
Main character Hercule Poirot, played by Kenneth Branagh, travels in a gondola in A Haunting in Venice.
(Source: TimeOut)
Adapted from Agatha Christie’s novel ‘Hallowe’en Party’, A Haunting in Venice follows the retired life of detective Hercule Poirot in 1947 Venice until Ariadne Oliver shows up at his doorstep. As a writer and a friend of Poirot who is invested in uncovering a mystery for her new book, she persuades him to join a séance on Halloween night.
Compared to Christie’s novel, where the story stretches onto a longer timeframe, the events in A Haunting in Venice only happen in one night. Therefore, I was prepared for a rushed storyline from the film, but I was still intrigued to see screenwriter Michael Green’s spin on the narrative. Perhaps having a major difference from the book is not exactly a negative thing since it preserves the suspense from the original story if the audience has never read the book.
The Belgian detective, who speaks in a thick French accent and has a distinctive moustache, is played by Kenneth Branagh, the director himself. It was captivating to see that the seemingly self-righteous character (or perhaps he is confident in seeing through deception in his career) experienced a series of unpleasant encounters with the spirits.
Tina Fey played the role of Ariadne Oliver. She appeared to be likeable at first as she embarked on a journey with Poirot to connect the dots. Her character was entertaining, to say the least. However, the character could have been executed better, as Fey’s performance felt awkward, resulting in the feeling that something was missing midway through the film.
Recent Oscars’ Best Actress winner for Everything Everywhere All at Once and Malaysia’s pride, Michelle Yeoh, also made an appearance in the film as the medium Joyce Reynolds. Making an entrance with a partially grey wavy bob, black cloak and a mysterious mask, she turned in a convincing performance as Reynolds for each scene she appeared in.
Familiar face Kelly Reilly, who stars in the American TV show Yellowstone, plays opera singer Rowena Drake, the resident of the palazzo who is also the séance’s host for her deceased daughter. She portrays a gentle and well-mannered grieving mother hoping to be in contact with her daughter’s spirit.
A Haunting in Venice does not leave any room for its audience to prepare themselves for the jumpy scenes with shockingly loud audio. Perhaps you would find it enjoyable if you are a fan of jumpscares, although some felt unnecessary and served no purpose.
The film may be flawed at one point or another, but the set design, props and filming location are top-notch, thanks to the astonishing work of production designer John Paul Kelly. Kelly’s other notable projects include the Oscars winning film, The Theory of Everything, along with The Other Boleyn Girl. The architecture and vintage props are to die (no pun intended!) for in the film.
The interior of the palazzo in A Haunting in Venice, built by the production team.
(Source: House Beautiful)
The colour palette of the scenes shot during the daylight calms the audience’s eyes. The light colours capture the beautiful side of Venice, which Poirot chose as the perfect place for a self-imposed exile. The cinematography at night makes the audience feel uneasy, hinting that something is about to happen at any moment. Combined with the unsettling music, it will keep you on the edge of your seat.
An outstanding reveal of a whodunit murderer will always be the most unexpected character, but A Haunting in Venice has failed to hit the nail on the head. The long-winded conversations and interrogation scenes only had me hooked on learning more about the victim rather than finding out the culprit. Strangely enough, the most memorable part of the film was the disappointing feeling I had as the end credits rolled.
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