A Haunting in Venice

The third of Kenneth Branagh’s Poirot adaptations uses one of Agatha Christie’s lesser known novels as its source, and adds a theatrically gothic supernatural tone to keep the whodunit formula fresh, and this movie distinct from his earlier films.

Premise:  Living in self-imposed isolation in post-war Venice, a retired Hercule Poirot (Kenneth Branagh) is reluctantly dragged by his old friend, the novelist Ariadne Oliver (Tina Fey), to a Halloween party hosted by retired opera singer Rowena Drake (Kelly Reilly).   Ariadne Oliver wants Poirot’s help to discredit Joyce Reynolds (Michelle Yeoh), a supposed psychic medium who Rowena Drake has hired to make contact with her deceased daughter, at a séance to be held after the party.

Review:

I really enjoyed Kenneth Branagh’s 2017 adaptation of Murder on the Orient Express and his 2022 version of Death on the Nile, which are arguably Agatha Christie’s two most famous Poirot novels, so I was intrigued to see where he went next.  Interestingly, he’s chosen to adapt one of the lesser known – and lesser beloved – Poirot novels, although from what I’ve read, A Haunting in Venice has really only used the 1969 novel Hallowe’en Party as a starting point for its plot.  If, like me, you enjoyed Branagh’s previous outings as Poirot, then you should find plenty to enjoy in this third adaptation.

I don’t know whether Kenneth Branagh intends to make any more Poirot films, but if not, and A Haunting in Venice acts as the concluding chapter in his trilogy, it brings the character to an interesting place, emotionally speaking.  Murder on the Orient Express and Death on the Nile were both set in the mid-1930s, and while Poirot still carried the literal and emotional scars from his service in the First World War (especially in Death on the Nile), they didn’t weigh on his character as much as they do when we rejoin him in A Haunting in Venice.  This film finds Poirot retired in Venice in 1947, but the Second World War has clearly taken a toll on him, effectively destroying his faith in humanity and in God.  He now lives as a recluse, rejecting all appeals for help and relying on a bodyguard (Riccardo Scamarcio) to keep all visitors from his door.

“…intentionally leans into the gothic horror tropes…”

Past trauma, and the struggle to move passed it, is a central theme in A Haunting in Venice.  Not only has Poirot lost his faith in humanity, but Jamie Dornan’s character, Dr Leslie Ferrier, is also suffering from PTSD as a result of his experiences during WWII, while the main storyline is set in motion by Rowena Drake’s (Kelly Reilly) desperation to communicate with her daughter who committed suicide a year ago after her fiancé broke off their engagement.  As the investigation unfolds, it’s revealed that several other characters are also struggling to overcome past trauma, whether from personal relationships or from the impact of the Second World War.

All of this feeds into the intentionally over-the-top gothic tone of A Haunting in Venice, which helps to give the film its own distinct feel, separate from the earlier two movies.  Now don’t get me wrong – contrary to what the first trailer may have led you to believe, A Haunting in Venice is not a horror film – but it definitely leans into the gothic horror tropes, many of which are also, of course, firm favourites of the whodunit genre as well.  So we have a raging storm that confines the suspects to an isolated location, a decaying palazzo that is said to be haunted by the ghosts of the children who died there when it was previously an orphanage, jump scares aplenty and a pervasive sense of unease.  All of which requires Poirot to not only attempt to solve an earthly crime, but to also confront his own beliefs in the supernatural and life after death.

“…doesn’t have the pacing issues that the last film had…”

As with all great whodunits, the reveal of the answer is only satisfying if you realise the truth was staring you in the face all along – and in that respect, director Kenneth Branagh and writer Michael Green have perfected the art form, giving you all the clues you need to solve the case, but disguising them so that they are quickly forgotten or overlooked.  I’d also say that at a tight 1 hour 43 minutes, A Haunting in Venice doesn’t have the pacing issues that Death on the Nile had, making this (for me) an improvement on the last film, all things considered.

Although you could argue that A Haunting in Venice doesn’t have quite as impressive a cast list as the previous two movies, it’s still got an incredible supporting cast by any other standard.  Tina Fey plays Poirot’s novelist friend, who’s determined to discredit psychic medium Joyce Reynolds (played by recent Oscar winner Michelle Yeoh) to generate publicity for her new book.  The underrated Kelly Reilly is excellent as the mother unable to let move on from her daughter’s death, while Camille Cottin and Jamie Dornan play the family’s housekeeper and doctor.

“…the trappings of a gothic ghost story breathe new life into the character…”

Ultimately, if you’re a fan of period whodunits, then you should thoroughly enjoy this movie (especially as it doesn’t have the pacing issues that the last film had) – and if you’re worried that the formula would begin to get stale the third time around, Kenneth Branagh’s decision to inject this one with the trappings of a gothic ghost story breathe new life into the character.  While I hope that Branagh decides to make more Poirot films, if this does turn out to be the end of his trilogy, it goes out on a high note.