In this week’s edition of Canon Of Film, we take a look Sidney Lumet‘s hypnotic ‘Murder on the Orient Express‘ just in time for the release of Kenneth Branagh‘s remake of the same name. For the story behind the genesis of the Canon, you can click here.
Murder On The Orient Express (1974)
Director: Sidney Lumet
Screenplay: Paul Dehn based on the novel by Agatha Christie (uncredited)
Strangely, the detective story is actually a fairly newer genre when compared to others, in terms of literary history, it is, and the inventor of the genre is not who you’d think it’d be either, it was Edgar Allen Poe, with his trilogy of C. Auguste Dupin stories, ‘The Murder of the Rue Morgue‘, ‘The Mystery of Marie Roget,’ and my favorite, ‘The Purloined Letter‘ back in the 1840s. I’m not sure why this genre didn’t pick up until then,...
Murder On The Orient Express (1974)
Director: Sidney Lumet
Screenplay: Paul Dehn based on the novel by Agatha Christie (uncredited)
Strangely, the detective story is actually a fairly newer genre when compared to others, in terms of literary history, it is, and the inventor of the genre is not who you’d think it’d be either, it was Edgar Allen Poe, with his trilogy of C. Auguste Dupin stories, ‘The Murder of the Rue Morgue‘, ‘The Mystery of Marie Roget,’ and my favorite, ‘The Purloined Letter‘ back in the 1840s. I’m not sure why this genre didn’t pick up until then,...
- 11/8/2017
- by David Baruffi
- Age of the Nerd
This month sees the release of Beyond Rue Morgue, an anthology of original stories featuring Edgar Allan Poe’s Le Chevalier C. Auguste Dupin, the world’s first literary detective. The book features stories from authors such as Clive Barker, Joe R. Lansdale, Jonathan Maberry, and Weston Ochse, and we have Mike Carey’s story for you to read right now:
“Edgar Allan Poe’s ‘The Murders in the Rue Morgue’ introduced the world to its first literary detective, Le Chevalier C. Auguste Dupin, and established many literary devices used in future fictional detectives, including Sherlock Holmes and Hercule Poirot. Now Dupin’s legacy continues in brand-new tales of ratiocination, mystery, and the macabre. Experience the further exploits of Dupin as he faces enemies both human and otherworldly; follow the adventures of his grandson, the Pinkerton detective; learn the fate of Dupin’s great-granddaughter; discover how Dupin connects his creator,...
“Edgar Allan Poe’s ‘The Murders in the Rue Morgue’ introduced the world to its first literary detective, Le Chevalier C. Auguste Dupin, and established many literary devices used in future fictional detectives, including Sherlock Holmes and Hercule Poirot. Now Dupin’s legacy continues in brand-new tales of ratiocination, mystery, and the macabre. Experience the further exploits of Dupin as he faces enemies both human and otherworldly; follow the adventures of his grandson, the Pinkerton detective; learn the fate of Dupin’s great-granddaughter; discover how Dupin connects his creator,...
- 7/22/2013
- by Jonathan James
- DailyDead
When the 64th Cannes film festival opens on 11 May, no one will get closer to the stars than Gilles Traverso – a photographer for the local papers, whose family have had unique access to the world's greatest actors for 70 years
From the first, the Cannes film festival was a media event. The films in competition had to be seen indoors, in a sacrosanct darkness from which photographers were excluded. By way of compensation, festivities in the open air gave the paparazzi a diversion. Convoys of horse-drawn carriages or open-topped cars crawled through town displaying the stars, with flower petals fluttering from on high. Photo ops cannily accentuated national stereotypes: Yves Montand stationed himself on a bench poring over Le Monde, Glenn Ford more energetically bounced on a trampoline or rode in a go-cart, and Ugo Tognazzi gave a cooking demonstration in the surf, ladling spaghetti out of a vat.
The stars were offered to the cameras,...
From the first, the Cannes film festival was a media event. The films in competition had to be seen indoors, in a sacrosanct darkness from which photographers were excluded. By way of compensation, festivities in the open air gave the paparazzi a diversion. Convoys of horse-drawn carriages or open-topped cars crawled through town displaying the stars, with flower petals fluttering from on high. Photo ops cannily accentuated national stereotypes: Yves Montand stationed himself on a bench poring over Le Monde, Glenn Ford more energetically bounced on a trampoline or rode in a go-cart, and Ugo Tognazzi gave a cooking demonstration in the surf, ladling spaghetti out of a vat.
The stars were offered to the cameras,...
- 4/30/2011
- by Peter Conrad
- The Guardian - Film News
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